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FIRST EDITIONS OF 
' BYRON 


FIRST EDITIONS, 
ORIGINAL MANUSCRIPTS 


OF 
CHARLES DICKENS 


& ORIGINAL DRAWINGS 
FOR HIS WORKS 
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MRS. LEO HUNTER’S FANCY DRESS DEJEUNER 
ORIGINAL WASH DRAWING BY PHIZ 
FOR “THE PICKWICK PAPERS” 
WITH CRITICISM iN DICKENS’ HANDWRITING 


[NUMBER 266] 


SALE NUMBER 2007 
PUBLIC EXHIBITION FROM MONDAY, NOVEMBER THIRTIETH 


A NEW YORK COLLECTION OF 


FIRST EDITIONS, AUTOGRAPH LETTERS 
& RELICS OF LORD BYRON 


FIRST EDITIONS, ORIGINAL MANUSCRIPTS 
MieehARLES DICKENS 


FROM THE COLLECTION OF 
NEW BURY EROST READ 


NEW: YORK. CITY 


ORIGINAL DRAWINGS FOR DICKENS 
WITH INSCRIPTIONS IN HIS WRITING 


fee ial EDITIONS OF TENNYSON 
& OTHER CHOICE BOOKS 


‘LavieArROPERVY OF 
AN ENGLISH BARONET 


ORIGINAL DRAWINGS OF BEARDSLEY 
FROM THREE COLLECTIONS 


A NEW YORK COLLECTION OF 
SHAKESPEARE QUARTOS & SOURCE. BOOKS 


BOOKS IN BEAUTIFUL BINDINGS 


Seite PROPERTY OF 
A FAMOUS NEW YORK COLLECTOR 


Penwiy PRINTED BOOKS, ETC., ETC. 
THE PROPERTY OF THE BANKRUPT ESTATE OF 
JOHN J. PHELAN 
SOLD BY ORDER OF HAROLD P. COFFIN, REFEREE IN BANKRUPTCY 
FOR EDWARD W. STITT, Jr., TRUSTEE IN BANKRUPTCY 
HENRY M. STEVENSON, AtTrorNey 
Fil CyeE LG: 


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Q 2 
iA? 7 

TO BE SOLD BY AUCTION i 
TUESDAY AFTERNOON & EVENING, DECEMBER EIGHTH 


AT TWO-THIRTY & EIGHT-FIFTEEN 


ae 


THE ANDERSON GALLERIES 
[MITCHELL KENNERLEY, PresiwentT] 
489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 
1925 


CONDITIONS OF SALE 


All bids to be PER LOT as numbered in the Catalogue. 


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All books are sold as catalogued, and are assumed to be in good SECOND- 
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No exceptions will be made to this rule. Magazines and other periodicals, 
and all miscellaneous books arranged in parcels, are sold as they are, WITH- 
OUT RECOURSE. 


Autograph Letters, Documents, Manuscripts and Bindings are sold as they 
are, without recourse. The utmost care is taken to authenticate and cor- 
rectly describe items of this character, but this Company will not be respon- 
sible for errors, omissions, or defects of any kind. 


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all bids competitively, buying at the lowest price permitted by other bids. 
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SALES: CONDUCTED BY MR. F. A. CHAPMAN AND MR. A. N. BADE 


SALE TUESDAY AFTERNOON, DECEMBER 8, AT 2:80 


FIRST SESSION 
NUMBERS 1-188 


A NEW YORK COLLECTION OF FIRST EDITIONS 
AND PRESENTATION COPIES OF BYRON 
AND BYRONIANA 


NUMBERS 1-147 


PRESENTATION COPY TO BYRON’S MASTER AT HARROW 


1 BYRON (LORD). Hours of Idleness. A Series of Poems, 
original and translated. 8vo, origina] boards, uncut, paper 
label (back repaired top and bottom). In a half blue mo- 
rocco slip case. Newark, 1807 


FINE COPY OF THE VERY RARE FIRST EDITION, WITH THE HALF-TITLE. 
PRESENTATION COPY, inscribed on inside front cover: “From the 
author to the Revd. H. Drury.” This inscription is said to have been 
written by Byron. If so, then this volume is of unusual association. 
Henry Drury was Byron’s master at Harrow School, and under whom 
he would not study. In later years the two became reconciled and 
Drury named his son after the poet. Byron wrote Drury some very 
interesting letters while on his “Childe Harold’s Pilgrimage.” 


Poems Original and Translated. Engraved frontis- 
piece. 12mo, original boards (rebacked and hinges cracked), 
uncut. In a half maroon morocco slip case, gilt back. 

Newark, 1808 


SECOND EDITION, but the FIRST to contain several . poems—‘Song,”’ 
“To the Duke of D »’ “To the Earl of —————,,” etc. 

On the front fly-leaves are pencilled poems, occupying 4 pp., which 
Frederickson the well-known collector asserted were in Byron’s hand- 
writing. 

The First Edition of this work, “Hours of Idleness,” is practically 
unobtainable. This, the Second Edition is also @ VERY RARE BOOK. 


WITH AUTOGRAPH LETTER OF LORD BYRON 


3 BYRON (LORD). English Bards and Scotch Reviewers. 
A Satire. 12mo, half red morocco, gilt and inlaid back. 
London: Printed for James Cawthorn, n.d. [1809] 


FINE COPY OF THE VERY RARE. FIRST EDITION, with the watermark 
“1805,” and with the spelling “Despatch” on p. 5, line 7. The half- 
title is also present. INSERTED IS AN A. L. s. of 2 pp., 8vo, with a 
postscript, the letter signed “N.B.” To Lord Blessington. A FINE 
LETTER in which he refers to Lady Blessington and her sister, Miss 
Power, the French Ambassadress “who it seems is a Dillon—Irish 
but born or bred in America—hus been pretty and is a blue,” etc. 
Lady Blessington was the famous beauty and London hostess whom 
Byron met in Italy. She wrote a delightful account of her conversa- 
tions with the poet. 


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AUTOGRAPH LETTER OF LORD BYRON 
INSERTED IN “ENGLISH BARDS AND SCOTCH REVIEWERS” 


[ NUMBER 3] 


4 


Another Edition. 12mo, three-quarter blue morocco, 
gilt and inlaid back. 
London: Printed for James Cawthorn, n.d. 


THE RARE PIRATED ISSUE OF THE FIRST EDITION, published by Caw- 
thorn. Byron sued this publisher and forced him to withdraw the 
book from sale and destroy the edition. 


PRESENTATION COPY FROM LORD BYRON IN 
BEAUTIFUL ORIGINAL BINDING WITH 
AUTOGRAPH LETTER 


BYRON (LORD). English Bards and Scotch Reviewers; A 
Satire. Second Edition, with considerable additions and 
alterations. 8vo, original dark blue straight-grain morocco, 
gilt back, gilt borders, gilt edges. In a half purple morocco 
slip case, gilt and inlaid back. 

London: Printed for James Cawthorn, 1809 


AUTOGRAPH PRESENTATION COPY FROM LORD BYRON, inscribed on the 
half-title: “For Chandos Leigh”. On the verso of the end leaf Byron 
has also written: “Chandos Leigh,” and again on the fly-leaf “Chandos 
Leigh from .’ The following note also appears on the verso of 
the end leaf: “Given to Lord Leigh by his schoolfellow Lord Byron— 
and by Lord Leigh to me. J. R. Young, 1845.” INSERTED IS A FINE 
A.L.s., signed “N.B.” [Noel Byron] of 3 pp., 8vo, dated June 1, 1828. 
To Lord Blessington. A P.S. occupies half of the last page. There 
is also an autograph note, signed by Lord Leigh, at the foot of p. 67. 


Another copy. 8vo, half blue morocco, gilt and inlaid 
back. London: Printed for James Cawthorn, 1809 


Buxton Forman’s copy, with his autograph on fly-leaf, dated 25th 
November 1862 (when he was 20 years of age). 


Another Edition. 8vo, contemporary calf, gilt back, 
gilt borders. In a half purple morocco slip case, gilt and 
inlaid back. London: Printed for James Cawthorn, 1811 


FourTH EDITION. This volume is filled with interesting manuscripts 
by a former owner. On the fly-leaf a borrower of the book has 
written: “The binding of this volume is considerably too valuable 
for the contents. Nothing but the consideration of its being the 
property of another prevents me from consigning this miserable record 
of misplaced anger and indiscriminate acrimony to the Flames.” 
These are part of Byron’s remarks made in a copy of the Fourth 
Edition in the possession of John Murray, the publisher of London. 


— Another copy. 8vo, original boards, cloth back, uncut. 
London: Printed for James Cawthorn, 1811 


Buxton Forman’s copy, with a pencilled note by him of six lines, 
regarding a variation in the note on p. 58 between this copy and 
another which he possessed. With the Buxton Forman bookplate. 


3 


3 


10 


English Bards and Scotch Reviewers; A Satire. 8vo, 

original boards, printed covers. In a half purple morocco 

slip case, gilt and inlaid back. 

Charleston, S. C.: Published by E. Morford, 
Willington, and Co., 1811 


THE VERY RARE FIRST AMERICAN EDITION, from the Third London 
Edition. 


The Genuine Rejected Addresses, presented to the 
Committee of Management for Drury-Lane Theatre; Pre- 
ceded by that written by Lord Byron, and adopted by the 
Committee. 8vo, three-quarter blue morocco, gilt and in- 
laid back, uncut. London, 1812 


FIRST EDITION. Byron’s Address was the one selected to be spoken 
upon the opening of Drury-Lane Theatre, and Mr. Elliston was chosen 
to recite it. 


WITH ORIGINAL MANUSCRIPT OF THE POEM BY BYRON 


Miah 


12 


13 


“ON PARTING” 


BYRON (LORD). Childe Harold’s Pilgrimage. A Romaunt. 
Cantos I and II. 4to, London, 1812; The same. Canto III. 
8vo, 1816; The same. Canto IV. 8vo, London, 1818. To- 
gether 4 vols. in three, 4to and 8vo, half green morocco, 
gilt backs. London, 1812-1816-1818 


FIRST EDITION OF ALL THE VOLUMES. 

INSERTED IS THE ORIGINAL MANUSCRIPT OF BYRON’S POEM “ON PART- 
ING,” WHICH APPEARS ON PAGE 190 OF THE FIRST VOLUME. 

In the first volume, at the end, is the facsimile of a Romaic letter, 
and a portrait has been inserted; and one laid in. 


[SEE ILLUSTRATION ] 


The Bride of Abydos. A Turkish Tale. Engraved 
portrait inserted. Crushed purple levant morocco, gilt back, 
gilt panelled sides, with crested B’s in compartments on 
back, and on corners; doublures of orange levant morocco, 
gilt border; end leaves of white watered silk. 


London, 1813 


A FINE TALL COPY OF THE VERY RARE FIRST ISSUE OF THE FIRST 
EDITION, with the slip of errata, and errata uncorrected. It is said 
that very few copies of this first issue are extant, as nearly all the 
edition had the errors corrected while the book was in the press. No 
half-title was issued with this book. 


The Giaour. A Fragment of a Turkish Tale. 8vo, 
three-quarter blue morocco, gilt and inlaid back. 
London, 1813 


FINE COPY OF THE FIRST EDITION, with the half-title. 
4 


haa i 
pee zee Por wn Cee t 
VZ4 ics Nhe is Bul ert Ce ee, 


ORIGINAL MANUSCRIPT OF BYRON’S POEM 
“ON PARTING’ INSERTED IN 
““CHILDE HAROLD’S PILGRIMAGE” 


[NUMBER 11] 


14 


15 


16 


17 


18 


19 


20 


The same. Fourth Edition, with additions. 8vo, three- 
quarter blue morocco, gilt and inlaid back. London, 1813 


With the half-title, having on the verso the announcement of Mme. de 
Staél’s “long-suppressed” work. 


The Corsair. A Tale. 8vo, three-quarter blue morocco, 
gilt and inlaid back. London, 1814 


FINE COPY OF THE FIRST ISSUE OF THE FIRST EDITION, WITH THE 
HALF-TITLE. This issue is easily identified on account of having only 
100 pages, with the imprint at the foot of the last page. Mr. Wise, 
in the Ashley Library Catalogue says: “This must be a book of very 
considerable rarity. With two exceptions, every other copy I have 
examined belonged to the Second issue,” which consists of 108 pages 
and 4 pages of advertisements. The J. A. Spoor copy has not the 
imprint on page 100. 


Ode to Napoleon Buonaparte. 8vo, plain drab wrap- 
pers. In a half blue morocco slip case, gilt and inlaid back. 
London, 1814 


FINE COPY OF THE EXTREMELY RARE FIRST EDITION; with the half- 
title. 


Hebrew Melodies. 8vo, original wrappers, uncut. In 
a half purple morocco slip case, gaits and inlaid back. 
London, 1815 


FINE COPY OF THE FIRST EDITION, with the half-title, leaf of adver- 
tisements at the end, and the titles and half-titles inserted at the end, 
Hop AEe the pamphlet-poems issued to date to be bound in two 
volumes. 


Fare Thee Well! A Poem. A Sketch. A Poem. 8vo, 
three-quarter blue morocco, gilt and inlaid back. 
London: Sherwood, Neely, and Jones, 1816 


FINE COPY OF THE FIRST PUBLISHED EDITION, with the half-title. 
These are the poems which made such a sensation at the time in the 
newspapers, and which let the public into the secret of Byron’s 
separation from his wife. 


Fare Thee Well! A Sketch, &c. Napoleon’s Farewell. 
On the Star of the Legion of Honour. And an Ode. 8vo, 
three-quarter blue morocco, gilt and inlaid back. 

London: Sherwood, Neely, and Jones, 1816 


FINE COPY OF THE FIRST PUBLISHED EDITION WITH THE ADDED POEMS, 
with the half-title. 


Farewell to England; with Three Other Poems. §8vo, 
three-quarter blue morocco, gilt and inlaid back, original 
wrappers bound in. London, 1816 


FIRST EDITION, with the half-title. All the poems included in this 
volume are spurious. Byron repudiated them in a letter to John 
Murray, dated July 22, 1816. 


21 


22 


23 


24 


25 


Lord Byron’s Farewell to England, and Other Late 
Poems; including an entire copy (now first printed) of his 
Curse of Minerva: together with an Original Biography. 
18mo, old olive straight-grain morocco, gilt back, line bor- 
ders, gilt edges, [by C. Lewis. ] Philadelphia, 1816 


SCARCE. CONTAINS THE FIRST AMERICAN APPEARANCE OF ‘“‘THE CURSE 
OF MINERVA.” According to Coleridge this contains the full text of 
the poem for the first time in book form. He suspects that this 
edition was really printed in London. The English edition of 1812, 
known as the first, was not “published” and did not contain the 
entire poem. 


Monody on the Death of the Right Honourable R. B. 
Sheridan, written at the request of a Friend. To be spoken 
at Drury Lane Theatre. 8vo, crushed purple levant mo- 
rocco, gilt and inlaid back, gilt panelled sides, with crowned 
B’s in the corners, doublures and end leaves of green 
watered silk. London, 1816 


FINE COPY OF THE VERY RARE FIRST EDITION, with the half-title. In- 
serted is an A.L.s. of Sheridan regarding Byron and Rogers, written 
less than three months before his death. This Monody was recited by 
Mrs. Davison at Drury Lane Theatre on Sept. 7, 1816. The words 
“Written at the request of a friend” roused Byron’s anger against 
Murray, the publisher, and he sneers at the words in the letter of 
Sept. 30, 1816—“‘obliged by Hunger and request of friends.” In the 
second edition the words were omitted. 


WITH AUTOGRAPH LETTER OF AUGUSTA LEIGH 


BYRON (LORD). Poems, 8vo, three-quarter blue morocco, 
gilt and inlaid back. London, 1816 


FINE COPY OF THE VERY RARE FIRST ISSUE OF THE FIRST EDITION, 
without the Poem to Samuel Rogers at the end. With the half-title. 
Inserted is an AUTOGRAPH LETTER, SIGNED, OF AUGUSTA LEIGH to 
Murray asking for a copy of ‘Fare Thee Well!” “Will you be so 
good if you can to send me the two additional stanzas to ‘Fare Thee 
Well.’ My brother is too lazy and I want them much.” <A curious 
request coming from the lady who was thought to be the cause of the 
scandal, which parted Byron from his wife; yet important as a piece 
of suggestive evidence in his favor. 


Poems. 8vo, crushed crimson levant morocco, Jansen 
style, gilt inside dentelles. London, 1816 


FINE COPY OF THIS VERY SCARCE EDITION BECAUSE OF ITS SUPPRESSION. 


AN UNDESCRIBED ISSUE 


BYRON (LORD). Poems of Lord Byron on his own Do- 
mestic Circumstances. Fare thee Well; and a Sketch from 
Private Life. 8vo, three-quarter blue morocco, gilt and 
inlaid back. London: Printed for Effingham Wilson, 1816 


AN UNDESCRIBED ISSUE OF THIS TITLE, differing from the usual edi- 
tions met with in that it contains only the two poems mentioned on the 
title-page. Then too, the difference in the title, and name of the 
publisher is to be noted. This edition is not mentioned by Coleridge, 
nor is it in the Ashley Libray. A FINE copy, with the half-title. 


( 


26 


A | 


28 


29 


50 


ol 


o2 


Poems on his Domestic Circumstances. I. Fare thee 
well! II. A sketch from Private Life. With the Star of the 
Legion of Honour and Other Poems. 8vo, three-quarter 
blue morocco, gilt and inlaid back. 


London: William Hone, 1816 
FIRST EDITION. Fine copy, with the half-title. 


— A Poetical Epistle to Lord Byron. 8vo, half calf. 
London, 1816 


FIRST EDITION, with the half-title. A spirited poem, ending 


“Thy memory ‘damn’d to everlasting fame,’ 
Shun’d by the wise, admir’d by fools alone— 
The good shall mourn thee—and the Muse disown.” 


WITH A LETTER SIGNED BY LORD BYRON 
ABOUT A MONTH BEFORE HIS DEATH 


BYRON (LORD). The Prisoner of Chillon and Other Poems. 
8vo, original wrappers, worn, uncut. In a half brown mo- 
rocco slip case, gilt and inlaid back. London, 1816 


FIRST EDITION, with the half-title, and leaves of advertisements at 
the end. INSERTED Is a L.s. by Lord Byron, to John Bowring. Dated 
from Messalonghi, March 9, 1824, about a month before his death. 
Bowring was the Secretary to the London Greek Committee formed 
for supporting the Greek struggle for Independence. 


The Siege of Corinth. A Poem. Parisina. A Poem. 
8vo, original wrappers, uncut. In a half red levant mo- 
rocco slip case. London, 1816 
FIRST EDITION, with the half-title and advertisements at the end dated 
Feb. 1816. 


Laid in is an Autograph Letter to R. W. Elliston, in the third person, 
written as from Lord Byron to him, but in another hand. 


The Lament of Tasso. 8vo, three-quarter blue morocco, 
gilt and inlaid back. London, 1817 


FINE COPY OF THE VERY RARE FIRST EDITION, with the half-title. 


Manfred, a Dramatic Poem. 8vo, original wrappers, 
uncut. In a half red morocco slip case. London, 1817 


FINE COPY OF THE EXCESSIVELY RARE FIRST ISSUE OF THE FIRST 
EDITION, with the half-title and advertisements at the end. This first 
issue does not contain a quotation from Shakespeare on the title-page. 
In the Ashley Library Catalogue Mr. Wise says: “So far I have only 
seen one other copy of the first issue in addition to my own.” 


Inserted is an autograph quotation from “Manfred” in German, 
written and signed by Ernst Possart, the German Actor. 


Beppo, a Venetian Story. 8vo, three-quarter blue 
morocco, gilt and inlaid back. London, 1818 


FIRST EDITION, with the half-title. FINE CLEAN COPY. 
8 


33 


D4 


3D 


36 


AN UNDESCRIBED ISSUE OF THE FIRST EDITION 


BYRON (LORD). Childe Harold’s Pilgrimage. Canto the 
Fourth. 8vo, three-quarter blue morocco, gilt and inlaid 
back. London, 1818 


FINE COPY OF THE FIRST EDITION, UNDESCRIBED ISSUE. It is known 
that there were several issues of the First Edition, and that several 
pages in the Notes were entirely re-arranged and re-set. In the present 
copy, page 160 does NOT contain the paragraph of seven lines relating 
to Ugo Foscolo, yet the leaf of errata contains the correction for the 
spelling of Foscolo instead of “Fosculo” as it appears in the First 
Issue. This copy also contains-the asterisked signatures of sheets P. 
and Q. This feature is mentioned by Griffith and Jones in their Byron 
Memorial Catalogue, but they do not mention the absence of the 
paragraph referred to. Mr. Temple Scott in his forthcoming Bibliog- 
raphy of Byron will describe this as a Third Issue, which has here- 
tofore escaped the attention of Byron Bibliographers, and which 
contains many interesting variations from the Second Issue described 
by Griffith and Jones. 

Inserted is a 6 pp. A.L.s. of John Cam Hobhouse, to whom the volume 
is dedicated. Hobhouse was Byron’s friend and companion on the 
famous “Childe Harold’s Pilgrimage.” 


WITH AN UNPUBLISHED AUTOGRAPH LETTER 
OF BYRON INSERTED 


BYRON (LORD). Don Juan. Cantos I-XVI. Portrait in- 
serted in first volume. 6 vols., 4to and 8vo, three-quarter 
blue morocco, gilt and inlaid backs. London, 1819-24 


FINE COPIES OF THE FIRST EDITION OF ALL THE VOLUMES. Vol. 1 has 
the half-title. Vol. 2 has none, and none was issued with the remaining 


-volumes. There is no note 7 to Canto 5, which is correct. The errata 


slip is present in the last volume. 

INSERTED IS A 2 PP., 4TO A.L.s. from Lord Byron to the Hon. Douglas 
Kinnaird, dated Venice Nov. 28, 1819, WHICH HAS NEVER BEEN PUB- 
LISHED. This letter SPEAKS OF “DON JUAN.” 

“In this remote corner of Italy where we have neither books nor 
booksellers—I am as ignorant of the affairs of the literary world as 
a Siberian exile . . . Now and then I read a stray leaf filled with 
the Boetian sounds of some croaking Scot prosing about’ the morals 
of the Don,” etc. Kinnaird was Byron’s banker and confidential 
friend. 


Hours of Idleness. A series of Poems, original and 
translated. 12mo, contemporary green calf, gilt back, with 
gilt tooled lyres in compartments, gilt and blind tooled bor- 
ders, with embossed panels (somewhat time-discolored). 

Paris: Galignani, 1819 


SECOND EDITION. 


Mazeppa. A Poem. 8vo, three-quarter blue morocco, 
gilt and inlaid back. London, 1819 


FINE COPY OF THE FIRST EDITION, with the half-title, and advertise- 
ments at the end dated June, 1819. They are generally found dated 
vl OL9.% 


9 


37 


40) 


Al 


A2 


The Vampyre; A Tale. 8vo, original wrappers, uncut. 
In a half purple morocco slip case, gilt and inlaid back. 
London, 1819 


FIRST EDITION, with the half-title. This work by Dr. Polidori was 
once ascribed to Byron. Pages 75 to 84 are preceded by a half-title 
on a separate leaf, giving “Extract of a Letter, containing an Account 
of Lord Byron’s Residence in the Island of Mitylene.” Polidori was 
Byron’s medical attendant in Switzerland, and was one of the circle 
that met at the villa Deodati, when Shelley was living nearby... Byron 
wrote the outline of the plot of the story which Polidori, after he had 
quarrelled with Byron, used for the writing of the above tale. He 
was a hot-tempered, impertinent fellow with whom it was difficult to 
talk. 


Hours of Idleness. Engraved frontispiece. 8vo, 
crushed green levant morocco, gilt back, line borders, in- 
side dentelles, uncut by Bedford. London, 1820 


A VERY TALL COPY, PRINTED ON THICK PAPER. This appears to be 
Coleridge’s “A” copy, without artist’s or engraver’s name on the 
frontispiece. 


Another copy. Engraved frontispiece. 8vo, three- 
quarter blue morocco, gilt and inlaid back. London, 1820 


FINE COPY, with the variation noted in Coleridge’s “B” copy, of the 
names of the painter and engraver on the frontispiece. 


Letter tog ee on the Rev. W. L. Bowles’ 
Strictures on the Life and Writings of Pope. 8vo, three- 
quarter blue morocco, gilt and inlaid back. London, 1821 


FINE COPY OF THE FIRST ISSUE OF THE FIRST EDITION, without the 
Addenda. 


The same, with Addenda of 6 pages. 8vo, crushed 
chocolate levant morocco, Jansen style, inside dentelles. 
London, 1821 


FINE COPY OF THE SECOND ISSUE OF THE FIRST EDITION. 


WITH AUTOGRAPH LETTER OF BYRON 
RELATING TO THE BOOK 


BYRON (LORD). Marino Faliero, Doge of Venice. An His- 
torical Tragedy, in Five Acts. With Notes. The Prophecy 
of Dante, a Poem. 8vo, original boards (a little worn), 
uncut, paper label. In a half purple morocco slip case, gilt 
and inlaid back. London, 1821 


FIRST ISSUE OF THE FIRST EDITION, with the half-title. In this issue 
the Doge’s speech on p. 151 consists of 51% lines only. 

INSERTED IS A FULL-PAGE A.L.s from Lord Byron to R. B. Hoppner 
RELATING ENTIRELY TO THE PRODUCTION OF “MARINO FALIERO,” which 
was a failure as an acting play. The play was staged against Byron’s 
repeated wishes and the circumstances of its production caused him 
much anguish of mind. Hoppner was English Consul at Venice and 
a good friend of Byron’s especially in connection with the poet’s 
troubles with Claire Clairmont. 


10 


43 


44 


ANTHONY TROLLOPE’S COPY 


BYRON (LORD). Sardanapalus, a Tragedy. The Two Fos- 
cari, a Tragedy. Cain, a Mystery. 8vo, original boards, 
uncut, paper label. In a half blue morocco slit case, gilt 
and inlaid back. London, 1821 


FIRST EDITION, with the half-title. With the bookplate of Anthony 
Trollope. 


Waltz: An Apostrophic Hymn. By Horace Hornem, 
Esq. (The Noble Author of Don Juan). 8vo, original 


‘ wrappers, uncut, paper label. In a half blue morocco slip 


A5 


46 


case, gilt and inlaid back. London, 1821 


FINE COPY OF THE VERY RARE FIRST OCTAVO EDITION. 


The Age of Bronze; or, Carmen Seculare et Annus 
haud Mirabilis. 8vo, original drab wrappers, and a dupli- 
cate wrapper over it, uncut. In a half purple morocco 
slip case, gilt and inlaid back. London, 1823 


THE VERY RARE FIRST EDITION, with the half-title. 


The Island, or Christian and his Comrades. 8vo, three- 
quarter blue morocco, gilt and inlaid back. London, 1823 


FINE COPY OF THE FIRST EDITION, with the half-title. 


WITH AUTOGRAPH LETTER FROM BYRON INSERTED 


AT 


BYRON (LORD). Werner, a Tragedy. 8vo, original drab 
wrappers, uncut. In a half green morocco slip case, back 
gilt tooled and inlaid. London: John Murray, 1823 


A FINE CLEAN COPY OF THE FIRST ISSUE OF THE FIRST EDITION, with- 
out “The End” on page 188. With the half-title and 7 pages of 
“Works in the Press.” Inserted is a 3 pp. 4to, autograph letter from 
Byron to Mr. Gaspey of the Morning Post Office, signed ‘‘N. Byron’. 


“Be assured that I feel most sensibly the extent of the obligations I 
owe to your friendship and the distinguished goodness of your heart, 
so eminently manifested on all occasions towards me, but more par- 
ticularly so, if possible, in the circumstances that have occurred since 
my departure from town. Accept, my dear friend, the warmest thanks 
of a grateful heart, & rely upon it your signally kind & friendly con- 
duct has made an impression on my mind which to the last moment of 
existence can never be effaced , . .” Slightly worn in the folds, and 
repaired, with hole at seal. 


11 


48 


49 


50 


D1 


52 


D3 


WERNER, a Tragedy. 8vo, crushed purple morocco, 
Jansen style, inside dentelles. London, 1823 


AN INTERLEAVED COPY, MARKED FOR A PROMPT BOOK FOR THE EMINENT 
ACTOR, Mr. G. V. BrooKE, by Joseph Bedworth, prompter of the 
Theatre Royal, Birmingham. As the arrangement of the printed text 
varies from the First Edition, and as there are 196 pages, it is probable 
that this is a wholly different edition, and that the title-page is taken 
from a copy of the First Edition. 


An Apology for “Don Juan.” Cantos. I-II. 8vo, origi- 
nal boards (hinges broken), uncut, fragment of paper label. 
In a half blue morocco slip case, gilt and inlaid back. 

[London]: Printed by T. Green, 1824 


FIRST EDITION. This is all that was ever published—“the apology for 
the first two Cantos”. RARE. 


The Deformed Transformed; A Drama. 8vo, half blue 
calf, gilt back, leather labels, uncut. London, 1824 


LARGE COPY OF THE FIRST EDITION, with the half-title. 


The Parliamentary Speeches of Lord Byron. Printed 
from the copies prepared by his Lordship for publication. 
8vo, crushed red levant morocco, line borders, with a 
crowned “‘B” in the corners, uncut, original front wrapper 
with label preserved. — - London, 1824 


FINE COPY OF THE VERY RARE FIRST EDITION, with the half-title, and 
leaf of advertisements. 


Another copy. 8vo, new wrappers, uncut. In a half 
morocco slip case, gilt and inlaid back. London, 1824 


FIRST EDITION. 


The Life, Writings, Opinions, and Times of the Right 
Hon. George Gordon Noel Byron, Lord Byron . . . with 
copious recollections of the lately destroyed Manuscript. 
. . . By an English Gentleman. Frontispiece portraits and 
facsimile of Byron’s handwriting. 3 vols., 8vo, three- 
quarter blue morocco, gilt and inlaid backs. London, 1825 


FINE COPY OF THE FIRST EDITION. LARGE TYPE LIBRARY EDITION. 


This is quite a scarce work, and curiously interesting in that the 
author states that Byron, before returning from his ‘“Pilgrimage”’, 
went a-buccaneering with a Venetian gentleman. It was suspected, 
after Byron published “The Corsair” that he must have been adven- 
turing as a pirate to be able to write the poem as he did. 


12 


54 


5D 


56 


A Review of the Character and Writings of Lord 
Byron. Engraved portrait. 12mo, three-quarter blue mo- 
rocco, gilt and inlaid back. London, 1826 


FIRST EDITION in book form, originally appearing in the “North 
American Review.” 


The Atheneum; or, Spirit of the English Magazines, 
for July 15, 1828. 8vo, wrappers (frayed), uncut. 
Boston, 1828 


Contains a sketch of the Life of Lord Byron. 


A SUPERB EXTRA-ILLUSTRATED SET 
WITH AUTOGRAPH LETTERS OF LORD BYRON 
AND HIS ASSOCIATES 


BYRON (LORD). The Works of Lord Byron. With his 
Letters and Journals, and his Life, by Thomas Moore. En- 
graved title-pages and frontispieces. 17 vols., 12mo, crushed 
blue levant morocco, gilt backs, line borders, inside den- 
telles. London, 1832-3 


A MOST ATTRACTIVE AND DESIRABLE SET, EXTRA-ILLUSTRATED BY THE 
INSERTION OF AUTOGRAPH LETTERS OF LORD BYRON AND HIS FRIENDS, 
TOGETHER WITH MANY PORTRAITS AND VIEWS INTIMATELY CONNECTED 
WITH HIS LIFE. 


EACH VOLUME CONTAINS ONE OR MORE AUTOGRAPH LETTERS. In vol. 1 
are, a 2 pp. A.L.s. of Lord Byron, who is just setting off for Newstead 
Abbey, and an A.L.s. of Thomas Moore, referring to Vol. 1 of Byron’s 
“Life and Letters”’. 


Vol. II. contains an A.L.s. of Madame de Staél, and a letter of Lady 
Blessington in the third person. 


Vol. III. A.L.s. of Wilberforce, and a note of presentation from John 
Murray. 


Vol. IV. contains a full page 4to A.L.s. of Sir Walter Scott, and a 
4 pp. A.L.s. of Harriet Martineau, in which she refers to Lady Byron. 


Vol. V. A.L.s. of the Earl of Chesterfield, and an“A.L.s. of Lord 
William Bentinck. 


Vol. VI. contains an A.L.s. of Sir Humphry Davy. 

Vol. VII. A.L.s. of Samuel Egerton Brydges, and an A.L.s. of Sir 
Benjamin Hobhouse. 

Vol. VIII. Franked portion of an address by Robert Peel, with seal. 


Vol. IX. Autograph (cut signature) of Patrick Henry, and franked 
portion of an address, by Lord Palmerston. 


Vol. X. A.L.s. of Joseph Priestley, and A.L.s. of Sir Thomas Lawrence. 
Vol. XI. 3 pp. A.L.s. of Maria Edgeworth. 

Vol. XII. A.L.s. of Hannah More. 

Vol. XIII. A.L.s. of Samuel Rogers. 

Vol. XIV. A.L.s. of John Hobhouse. 

Vol. XV. A.L.s. of John Galt, and an A.L.s. of B. W. Procter. 

Vol. XVI. A.N.s. of J. Cam Hobhouse, and an A.L.s. of E. Bulwer 
Lytton. 

Vol. XVII. A.L.s. of H. W. Hobhouse. 


13 


o7 


58 


59 


60 


61 


62 


63 


Finden’s Illustrations of the Life and Works of Lord 
Byron, with original and selected information on the sub- 
jects of the engravings. Profusely illustrated with steel 
engravings, on India paper. 3 vols., 4to, maroon morocco, 
gilt backs, gilt and blind tooled sides, gilt edges. 

London, 1833 


A SUPERB COPY ON LARGE PAPER, WITH PROOFS OF THE PLATES ON 
INDIA PAPER. 


Conversations of Lord Byron with the Countess of 
Blessington. 8vo, original boards (worn), uncut, paper 
label. In a half purple morocco slip case, gilt and inlaid 
back. London, 1834 


FIRST EDITION. Inserted is a 2 pp. A.L.s. of Lady Blessington. 
This is, perhaps, the most interesting of all the books written about 
Byron. 


The Opinions of Lord Byron on Men, Manners, and 
Things, with the Parish Clerk’s Album, kept at his Burial 
Place, Hucknall Torkard. Woodcut frontispiece. 16mo, 
three-quarter blue morocco, gilt and inlaid back, uncut. 

London, 1834 


The Poetical Works of Lord Byron. (Portrait want- 
ing.) 8 vols., 4to, contemporary calf (worn). London, 1839 


LARGE PAPER COPY. 


Childe Harold’s Pilgrimage. A Romaunt. Engraved 
frontispiece, title-page and numerous vignettes, map. Royal 
8vo, three-quarter blue morocco, gilt and inlaid back, uncut. 
London: John Murray, 1841 


LARGE PAPER COPY. 


CHARLES DICKENS’S COPY 


BYRON (LORD). The Poetical Works of Lord Byron. 
Complete in one volume. Engraved portrait and view of 
Newstead Abbey. 8vo, original red morocco, gilt back, gilt 
panelled and ornamented sides, gilt edges. In a half blue 
morocco slip case, gilt and inlaid back, with cloth protecting 
cover. London, 1845 


CHARLES DICKENS’S COPY, WITH HIS BOOKPLATE AND SALE LABEL. 


A Political Ode by Lord Byron. Hitherto unknown as 
his production. 8vo, three-quarter blue morocco, gilt and 
inlaid back. London: John Pearson, 1880 


FIRST EDITION. One of 100 copies. This piece is “An Ode to the 
Framers of the Frame Bill”, which appeared anonymously in the 
“Morning Chronicle” of Feb. 27, 1812. 


14 


64 Fugitive Pieces by George Gordon Lord Byron. 4to, 


vellum, uncut. In a half purple morocco slip case, gilt and 
inlaid back. London: Printed for Private Circulation, 1886 


ONE OF A SPECIAL ISSUE OF SEVEN COPIES ON JAPAN VELLUM. To the 
note of edition limitation, Mr. Forman, whose copy this was, has 
written: “Seven unnumbered copies, of which this is one, were printed 
on Japanese paper, but were not issued.” With the Buxton Forman 
bookplate. Of the hand-made paper edition, only 100 were printed. 
This is a facsimile of the rare original edition. 


65 The Works of Lord Byron. Edited by William Ernest 
Henley. Letters, 1804-13. Portrait. Thick 12mo, cloth, 


uncut. London, 1897 


THE ONLY VOLUME ISSUED. This projected collection was discontinued 
upon the announcement of Murray’s new edition. 


66 The Complete Poetical Works of Lord Byron. With an 
Introductory Memoir by Sir Leslie Stephen. Portrait 


colored by hand. 12mo, half olive morocco, gilt ornaments 


on back. New York, 1907 
67 —— Byron’s Suppressed Poem “Forbidden Fruit.” 8vo, 
8 pp., folded. In a half blue morocco slip case, gilt and 
inlaid back. [ Montreal, 1911] 


Poems and Letters of Lord Byron. Edited from the 
original Manuscripts in the possession of W. K. Bixby, of 
St. Louis, by W. N. C. Carleton. Portrait and numerous 
facsimiles of letters, etc. 4to, half cloth and boards, uncut. 
In a half blue morocco slip case. 

Chicago: Society of the Dofobs, 1912 


ONE OF 52 COPIES PRINTED FOR MEMBERS OF THE SOCIETY OF THE 
DOFOBS. INSERTED IS A MANUSCRIPT LIST OF LORD BYRON’S BOOKS, 
written on 4 pp., 4to. This list is printed on pp. 48-5 of the volume. 


68 


Poetry of Byron, chosen and arranged by Matthew 
Arnold. Portrait of Byron on title-page. 12mo, crushed 
red morocco, gilt ornaments on back, elaborate gilt borders 
on sides, with central cartouches, inside dentelles, gilt edges, 
by Zaehnsdortf. London, 1922 


Inserted is a full-page A.L.s. from Matthew Arnold to John Murray, 
the publisher. 


69 


70 —— The Prisoner of Chillon, and part of the 3rd Canto of 
Childe Harold. With a short description of the Castle, etc. 
With 2 tinted lithographed plates. 8vo, original wrappers. 

Vevey, n.d. 


15 


71 


72 


LORD BYRON’S EARLIEST KNOWN AUTOGRAPHS, 
WRITTEN WHEN HE WAS EIGHT YEARS OF AGE 
IN THE HISTORY USED BY HIM AT SCHOOL 


BYRON (LORD). Roman History. Apparently a Scotch 
Edition, lacking the title-page and a couple of pages at 
front and back. 12mo, original calf, with a protecting 
cover of crimson watered silk, and enclosed in a blue levant 
morocco solander case, gilt and inlaid back, with crowns 
and capital ““B’s” in the corners. A calf book box formerly 
used to preserve this book is included with it. 


A BYRON RELIC OF SUPERLATIVE INTEREST. On the margins of pages 
15, 86, and 185 occur the autograph of Lord Byron—“George Byron, 
his Book, 1796.” On the inside of the back cover is written ‘‘Byron,” 
“N”, “M”, “Guliver’, and cther letters and scribblings, in Lord 
Byron’s handwriting, in the manner of a young schoolboy. The 
volume also belonged to George Gerard, whose autograph occurs two 
or three times, and an old note, written on the last printed page of 
the book which has been torn out and pasted on the inside of the front 
cover, dated 1832 and signed “M. Gerard C.”, states that George 
Gerard of Aberdeenshire, was the writer’s brother, and was killed at 
Quatre Bras (1818), while carrying the colors of the 42d Regiment. 
There is also the following note, under the signature “Byron” written 
on the last cover, in M. Gerard’s handwriting: “Trace the resemblance 
between this and his signature in later years. M.G.C.” 


Lord Byron, in 1796, then 8 years of age, was a schoolboy at the 
Aberdeen Grammar School, where no doubt George Gerard was a 
fellow pupil. 


In Moore’s ““Works of Byron, with his Letters and Journals, and his 
Life,” there is the following interesting reference: “The moment I 
could read, my grand passion was history, and why, I know not, BUT 
I WAS PARTICULARLY TAKEN WITH THE BATTLE NEAR THE LAKE 
REGILLUS IN THE ROMAN HISTORY PUT INTO MY HANDS THE FIRST.” 
THESE ARE BELIEVED TO BE THE EARLIEST KNOWN AUTOGRAPHS IN 
EXISTENCE OF LORD BYRON. IT IS NOT AN EXTRAVAGANT STATEMENT 
TO MAKE THAT HIS PARTICULAR INTEREST IN ROMAN HISTORY AND HIS 
WRITING OF “TASSO,” “DANTE,” “THE DOGE OF VENICE,” etc. CAN BE 
DIRECTLY TRACED TO THIS VOLUME. 


AN INTIMATE MEMENTO OF BYRON AND 
TWO OF HIS LOVES 


BYRON (GEORGE GORDON, LORD). A Collection of Au- 
thentic Relics of Lord Byron, Countess Guiccioli, and Lady 
Caroline Lamb. Comprising Ringlets of the Hair of Each; 
an A.L. from Countess Guiccioli presenting ringlets of her 
hair and that of Lord Byron to Lady Morgan; an A.L:s. 
from Lord Byron to Count Gamba, the father of Countess 
Guiccioli; and three exquisitely painted Miniatures on Ivory 
of Byron and his two historic mistresses. Beautifully pre- 
served and bound in one volume, 4to, crushed crimson 
levant morocco, with the arms of Lord Byron inlaid on the 


16 


73 


front cover, and the monograms of all three inlaid in the 
corners on a thickly dotted background, gilt and blind 
tooled borders; doublures and end-leaves of red China silk, 
gilt edges, by Sangorski and Sutcliffe. In a lined cloth box. 


A MOST ATTRACTIVE COLLECTION PRESERVED IN PERMANENT FORM; ALL 
THE MEMENTOS EXCEPT THE LETTERS BEING IN SUNKEN PANELS UNDER 
GLASS. 


The letter from Countess Guiccioli to Lady Morgan is in the third 
person, as follows: “The Countess Guiccioli presents her compliments 
to Lady Morgan and sends to her some lines of Lord Byron’s hand- 
writing, together with some hairs of him. She adds to that a ringlet 
of her own hairs—only because Lady Morgan asked for it. But she 
cannot do that without a sort of remorse—as it was a profanation to 
se together im the same shrine so holy relics with so trifling a 
thing - 


‘Lord Byron’s letter, written in Italian in a humorous vein, mentions 


Countess Guiccioli: “Although Sega has had two months to get ready, 
he is still in all the confusion of a sudden flight. I have never seen 
such a slow animal except the tortoise. Within the next week I shall 
set out. Give my kind regards to Teresina and Pierino, and believe 
me, with plenty of esteem and friendship, Yours B. P. S. Please ask 
Teresa to give Sega a good thrashing with a stick—he deserves it in 
every way.” [Translation.] Byron’s letter is written upon an A.L.s. 
by Sega Zambelli to Count Gamba, dated from Ravenna, Oct. 19, 1821. 
Transcripts of the autographic material have been beautifully en- 
grossed and illuminated, together with biographical notices and a copy 
of a poem “To Caroline.” There is also an engrossed transcript of a 
poem by Byron, “To a Lady who presented the author with a velvet 
band which bound her tresses,” verses which seem almost to have been 
written to accompany these interesting memorials. The original 
wrappers which contained the ringlets are here preserved, two of them 
under glass, on one of which is written in Mrs. Shelley’s hand, “Lord 
Byron’s hair given by Mrs. Shelley.” 


BYRON RELIC 


BYRON (LORD). A Terra Cotta Tile from the Grave of 
Lord Byron, taken therefrom by the Sexton of the Church 
at Hucknall-Torkard, when the grave was opened to place 
the body of Ada—‘‘Aye daughter of my house and heart’— 
in the grave beside her father. Enclosed in a velvet-lined 
blue levant morocco case, with crimson levant morocco in- 
laid panel on the cover, lettered in gilt. 


THIS WAS PRESERVED BY THE SEXTON AND PRESENTED TO WILLIAM 
WINTER, THE CELEBRATED AMERICAN DRAMATIC CRITIC, WHEN HE 
VISITED THE GRAVE OF LORD ByRoN. It was used by Winter as a 
paper-weight for more than a quarter of a century. 


17 


LORD BYRON’S FAVORITE SNUFF-BOX 


74 BYRON (LORD). Byron’s Favorite Snuff-Box, of Tortoise- 
shell and Gold. Cracked across the bottom by the action 
of intense cold. Enclosed in a silk-lined blue morocco case, 
with clasp, and gilt lettering on cover. 


The top of this Snuff-box contains a floral spray, inlaid in gold and 
silver, and surrounding this is a delicate lace border in silver, inter- 
twined with a ribbon of leaves. The framework of the box is of Gold, 
and on the inner rim is engraved “William Winter from Henry Irving, 
Christmas, 1893.” In the centre of this band is a letter “B” in Old 
English, being the original indication of Byron’s ownership. 


THIS SNUFF-BOX WAS GIVEN BY LORD BYRON TO EDMUND KEAN. IT 
WAS LATER IN THE COLLECTION OF SIR HENRY IRVING, AND WAS 
PRESENTED BY HIM TO WILLIAM WINTER. Laid in the box is a little 
slip of paper on which William Winter has written: “Snuff-Box 
once owned by Lord Byron, and given to me by Henry Irving. Christ- 
mas 1898.” 


In Moore’s “Byron,” Vol. 3, pp. 76-7, reference is made of a present by 
Byron to Kean of a “handsome Snuff-Box and a Turkish sword.” 


A DELIGHTFUL MEMENTO OF LORD BYRON, WITH MOST IMPORTANT AS- 
SOCIATION INTEREST OF GREAT MEN. 


Shy- OF ax 
ree wre) £ 
Von Tyron, ¥ 
Hen hohe £ 


we 


Rn drvigy 
Chretnge ib¢3 
WUlbrovr, Wivte,, 


ORIGINAL AUTOGRAPH MANUSCRIPT 


75 BYRON (LORD). Original Autograph Manuscript of ‘Adieu 
to the Muse,” a Poem of 10 stanzas of four lines each, writ- 
ten on 4 pp., 4to. Enclosed, with a manuscript transcription 
by Miss Ann Pigot, in a half blue morocco slip case. 


THIS MANUSCRIPT BEARS EVIDENCE OF BYRON’S GREAT DIFFICULTY IN 
ITS COMPOSITION, as groups of words and entire lines have been 
deleted, written, and re-written, until the manuscript as finally left is 
exactly as the printed poem FIRST APPEARED in his collected works of 
1832, page 204. 

[SEE ILLUSTRATION ] 


18 


f 


vrs 
ee 


Bos ae 
we . 


fo GE. Sig ri 


75] 


76 BYRON’S ARMENIAN TRANSLATIONS. Beauties of 


TT 


78 


ia 


English Poets. 16mo, three-quarter blue morocco, gilt and 
inlaid back. Venice, 1852 


Contains a facsimile of Byron’s signature; letters of Lord Byron in 
English and Armenian; and Poems from various sources translated 
into Armenian by him, both English and Armenian texts appearing 
on opposite pages. Byron studied Armenian, as he wrote John 
Murray at the time, because he wanted something “craggy” to exercise 
his brain with during his Venetian adventurings. 


WITH AUTOGRAPH INSCRIPTION BY LEIGH HUNT 
CONCERNING BYRON’S CONNECTION WITH 
“THE LIBERAL” 


BYRON AND HUNT. The Liberal. Verse and Prose from 
the South. 2 vols., 8vo, three-quarter blue morocco, gilt 


and inlaid backs. 
London: Printed by and for John Hunt, 1822-3 


FINE COPY OF THE First EDITION. Byron’s “The Vision of Judgment” 
and ‘‘Heaven and Earth” first appeared in the pages of “The Liberal.” 
Shelley’s “Song, written for an Indian Air,” and “May-Day Night,” 
also made their first appearance here. 


ON THE FLY-LEAF OF THE FIRST VOLUME IS THE FOLLOWING SIGNED 
NOTE BY LEIGH HunT: “This publication was the cause of my quarrel 
with Lord Byron, as he lost rather heavily in the transaction.” A most 
interesting remark in view of what Leigh Hunt wrote in his “Lord 
Byron and Some of his Contemporaries” and in his “Autobiography.” 


BYRON (LORD) AND ROGERS (SAMUEL). Lara, A 
Tale. Jacqueline, A Tale (by Samuel Rogers). 12mo, orig- 
inal boards (worn), portion of paper label, uncut. In a 


half purple morocco slip case, gilt and inlaid back. 
London, 1814 


THE RARE FIRST EDITION, with the half-title, and three leaves of 
advertisements, one more than is in the Ashley Library copy. 


WITH A FULL PAGE AUTOGRAPH NOTE BY 
BYRON INSERTED 


BYRONIANA. Don Leon; A Poem by the late Lord Byron, 
and forming part of the Private Journal of his Lordship, 
supposed to have been entirely destroyed by Thos. Moore. 
8vo, crushed black levant morocco, gilt back, gilt panelled 
sides; doublures of pink levant morocco, and end leaves of 
pink watered silk, uncut. 

London: Printed for the Booksellers, 1866 


VERY RARE. Added to the above is: Leon to Annabella. An Epistle 
from Lord Byron to Lady Byron. A copy is in the Ashley Library, 
and Mr. Wise’s note reads: ‘‘Both poems of course are spurious. The 
57 pages of Notes appended to ‘Don Leon’ are verbose and particularly 
obscene.” 

INSERTED IS A FULL PAGE AUTGGRAPH NOTE, SIGNED BY BYRON TWICE. 


This note refers to a book which he purchased in Venice, in which the 
characters have originals in real life. “The hero of the tale is ap- 
parently the author himself.” 


20 


80 


81 


82 


83 


84 


85 


Beppo in London. A Metropolitan Story. 8vo, crushed 
light blue levant morocco, Jansen style, inside dentelles. 
London, 1819 


A parody on Byron’s “Beppo.” 


“Sydney’s” Letter to the King; and other Corre- 
spondence connected with the reported exclusion of Lord 
Byron’s Monument from Westminster Abbey. 12mo, dark 
green morocco, gilt edges. London: James Cawthorn, 1828 


FIRST, and probably the only edition of an uncommon volume of 
Byroniana. The author is apparently unknown. Presentation copy 
from the author, with inscription on the title-page: “Miss Vivian, with 
Sydney’s sincere regards.” With the W. T. Wallace bookplate. 


AUGHER (P. PASCHAL). A Grammar Armenian and 
English. 12mo, three-quarter blue morocco, gilt and inlaid 
back. Venice, 1832 


FINE COPY, with the half-title. Contains specimens of Armenian 
Poetry, and some translations of Lord Byron from the Armenian into 
English. 


BETTANY (W. A. L.). The Confessions of Lord Byron. 
Portraits. 8vo, three-quarter blue morocco, gilt and inlaid 
back, uncut. London, 1905 


First EDITION. A collection of Byron’s private opinions of men and 
matters, taken from the new and enlarged edition of his Letters and 
Journals. 


BIBLIOGRAPHY. Byron’s Auction Sales. Catalogues of 
Furniture, Wines, etc. at Newstead Abbey, 1815; The Sale 
of Byron’s Books, 1827; Bibliography of the Works of 
Byron. By Ernest Hartley Coleridge, London, 1904; ex- 
cerpted from a volume (about 250 pages) ; Catalogue of the 
Library and Byron Collection of E. M. Boyle, sold at The 
Anderson Galleries, 1919. Together 3 vols., three-quarter 
blue and purple morocco, gilt and inlaid backs. 


BOWLES (WILLIAM L.). Letters of Lord Byron on a 
Question of Poetical Criticism. 8vo, paper covers. In a 
half blue morocco slip case, gilt and inlaid back. 

London, 1822 


Added to the above for the first time, are: The Letter to Mr. Camp- 
bell and an Answer to the Writer in the Quarterly Review. 


21 


86 


87 


88 


89 


90 


91 


BRYDGES (SIR SAMUEL EGERTON). Letters on the 
Character and Poetical Genius of Lord Byron. 8vo, half 


dark blue morocco, gilt and inlaid back, uncut. 
London, 1824 


First EDITION. LARGE TYPE LIBRARY EDITION. Inserted is a short 
A.L.s. of the author, unusual on account of its brevity, as he was 
ordinarily a voluminous writer. 


A. Note on the Suppression of Memoirs announced by 
the Author in June, 1825; containing numerous strictures 
on contemporary Public Characters. 12mo, half blue mo- 
rocco, uncut. Paris, 1825 


FIRST EDITION. VERY SCARCE. 


BYRON (ADMIRAL JOHN). Byron’s Narrative of the Loss 
of the Wager. With an account of the Great Distresses suf- 
fered by himself and his companions on the coast of Pata- 
gonia from the Year 1740 till their arrival in England in 
1746. Portrait. 12mo, three-quarter blue morocco, gilt 
and inlaid back, uncut (a few blank margins damaged) .. 
London, 1832 


BYRON (MEDORA GORDON). Zameo; or, The White 
Warrior. An Operatic Romance. Frontispiece. 16mo, 
three-quarter blue morocco, gilt and inlaid back, original 
blue wrappers bound in. London, n.d. [1834] 


From a Preface by Jane Briancourt, dated Sloane Street, Nov. 14, 
1834, we gather that this piece was written by an illegitimate daughter 
of Lord Byron, probably Medora Leigh, the reputed daughter of Lord 
Byron and his half-sister, the Hon. Augusta Leigh. 


BYRON (WILLIAM LORD). The Tryal of William Lord 
Byron, Baron Byron of Rochdale, for the Murder of William 
Chaworth . . . on the 16th and 17th of April, 1765. 8vo, 
half green levant morocco, lettered back. Dublin, 1765 


Account of the trial of Byron’s grand-uncle for killing Chaworth in 
a duel with swords, Chaworth being an expert in its use. The duel, 
as Jeaffreson writes, was in all probability the result of a trivial 
dispute. Byron succeeded this Lord Byron, and fell in love with the 
grand-niece of the man his grand-uncle killed. 


CLARKE (McDONALD). The Gossip: or, a Laugh with > 
the Ladies. A Grin at the Gentlemen, and Burlesques on 
Byron, a Sentimental Satire; with Other Poems: In a series 
of Numbers. No. One. All published. 16mo, three-quarter 
blue morocco, gilt and inlaid back, uncut, original wrappers 
preserved. New York, 1823 


FIRST EDITION. A SCARCE COLLECTION OF BURLESQUES ON BYRON, by 
“The Mad Poet.” 


22 


92 


93 


94 


95 


96 


a7 


98 


CLINTON (GEORGE). Memoirs of the Life and Writings 
of Lord Byron. Portrait, facsimile, and woodcut illustra- 
tions. Thick 8vo, three-quarter blue morocco, gilt and in- 
laid back, uncut. . London, 1826 


CRUIKSHANK (GEORGE). A Collection of 40 woodcut 
illustrations to Byron’s Works, bound in one volume, 8vo, 
three-quarter blue morocco, gilt and inlaid back. 


Inserted is a 2 pp. A.L.s. of George Cruikshank; AN ORIGINAL PENCIL 
SKETCH BY HIM; and a facsimile of Lord Byron’s handwriting. 


DALLAS (R. C.). Correspondence of Lord Byron, with a 
friend, including his letters to his Mother, written from 
Portugal, Spain, Greece, and the Shores of the Mediter- | 
ranean, in 1809, 1810, and 1811, also Recollections of the 
Poet, the whole forming an Original Memoir of Byron’s 
Life from 1808 to 1814. 38 vols., 12mo; original wrappers, 
uncut. In a half blue morocco slip case, gilt and inlaid 
back. Paris, 1825 


The rare Paris edition, containing the material which Dallas desired 
to publish in England, but was prevented by injunction. 


DON JUAN ADAPTATIONS, ETC. ‘Don John,’ or Don 
Juan Unmasked; being a Key to the Mystery attending that 
remarkable publication, London, 1819; The Libertine: An 
Opera in Two Acts, founded on the Story of Don Juan, by 
I. Pocock. London, 1817; Don Giovanni; or, a Spectre on 
Horseback, London, 1818; Songs, Duets, Chorusses, etc., as 
sung in . . . Giovanni in London, London, n.d. 4 pieces 
bound in one volume, 8vo, crushed brown morocco, Jansen 
style, inside dentelles. London, 1817, ete. 


DRIVER (HENRY AUSTEN). Byron and “The Abbey.” 
12mo, three-quarter blue morocco, gilt and inlaid back. 
i London, 1838 


FIRST EDITION. Elicited by the rejection of Byron’s statue by the 
Dean of Westminster Abbey. 


ELZE (KARL). Lord Byron. A Biography, with a Critical 
Essay on his Place in Literature. Translated with the au- 
thor’s sanction, and Edited with Notes. Portrait and fac- 
simile. 8vo, three-quarter blue morocco, gilt and inlaid 
back, uncut. London, 1872 


FUESS (CLAUDE M.). Lord Byron as a Satirist in Verse. 
8vo, cloth. New York, 1912 


FIRST EDITION. 
ae 


99 GAMBA (COUNT PETER). A Narrative of Lord Byron’s 
last Journey to Greece. Facsimiles of Byron’s handwriting. 
8vo, original boards (worn), uncut, paper label. In a half 
brown morocco slip case. London, 1825 


First EpItion. The author was the brother of the Countess Guiccioli, 
Byron’s mistress during his sojourn in Italy. 


100 GOODE (CLEMENT TYSON). Byron as Critic. 8vo, cloth, 
uncut. Weimar, 1923 


101 GORDON (LORD GEORGE). The Proceedings at Large 
on the Trial of George Gordon . . . for High Treason. . . 
February 5th and 6th, 1781. 8vo, three-quarter blue mo- 
rocco, gilt and inlaid back. 

London: Printed for the Editor, 1781 


102 GRAHAM (WILLIAM). Last Links with Byron, Shelley 
and Keats. 8vo, three-quarter blue morocco, gilt and inlaid 
back, uncut. SEA. London, 1898 


FIRST EDITION. 


PRESENTATION COPY OF GRAY’S POEMS 
BOUGHT AT THE BODONI PRESS BY THOMAS MOORE 
AND PRESENTED TO HIS WIFE 


103 GRAY (THOMAS). Poems by Mr. Gray. Royal 8vo, black 
morocco, rehinged. Parma: Printed by Bodoni, 1793 


AUTOGRAPH PRESENTATION COPY FROM THOMAS MOORE TO HIS WIFE, 
with the following autograph inscription: “Bought at Parma for my 
dearest Bessy. Nov. 29, 1819.” Pasted on the inside front cover is 
the book label of Bessy Moore, who was Elizabeth Dyke, the actress, 
whom Moore married in 1811, in her eighteenth year. On the same 
leaf with the inscription by Moore is the following inscription written 
by Moore’s friend Francis Chantrey: “I certify that the above was 
written by my friend Thomas Moore in the Stamperia of Bodoni at 
Parma, Novr. 29, 1819. Francis Chantrey.” With the Bessy Moore 
and W. F. Gable bookplates. 


104 GRIBBLE (FRANCIS). The Love Affairs of Lord Byron. 
Portraits. 8vo, three-quarter blue morocco, gilt and inlaid 
back, uncut. London, 1910 
First EDITION. Presentation copy from the author, inscribed on the 


half-title: “With the best wishes of the author. Francis Gribble. 
Nov. 4, 1921.” The name of the recipient has been erased. 


24 


105 


106 


107 


108 


109 


110 


WITH AUTOGRAPH NOTE OF THE 
COUNTESS GUICCIOLI 


GUICCIOLI (COUNTESS). My Recollections of Lord Byron 
and those of Eye-Witnesses of his Life. Photographic por- 
trait. 2 vols., 8vo, three-quarter blue morocco, gilt and in- 
laid backs, uncut. London, 1869 


FIRST EDITION IN ENGLISH. INSERTED IS AN AUTOGRAPH NOTE IN THE 
THIRD PERSON, of the author. FINE COPY OF THE LARGE TYPE LIBRARY 
EDITION. 


HOBHOUSE (JOHN CAM). Imitations and Translations 
from the Ancient and Modern Classics, together with Orig- 
inal Poems never before published. 8vo, three-quarter blue 
morocco, gilt and inlaid back. London, 1809 


FINE COPY OF THE FIRST EDITION. 


The Substance of some Letters written from Paris dur- 
ing the last Reign of the Emperor Napoleon, and addressed 
principally to the Right Hon. Lord Byron. 2 vols., 8vo., 
three-quarter blue morocco, gilt and inlaid backs, uncut. 

London, 1817 


LARGE TYPE LIBRARY EDITION. Inserted is a 8 pp. A.L.s. of the author. | 


Historical Illustrations of the Fourth Canto of Childe 
Harold: Containing dissertations on the Ruins of Rome and 
an Essay on Italian Literature. 8vo, half dark blue mo- 


rocco. London, 1818 


FIRST EDITION. Inserted is an early Autograph inscription cut from 
the fly-leaf of a book. 


HUBBARD (ELBERT). Little Journey to the Home of 
Lord Byron. Frontispiece portrait, elaborate woodcut bor- 
der to title-page and woodcut initials, illuminated in gold 
and colors. Small 4to, three-quarter blue morocco, gilt and 
inlaid back, uncut. East Aurora: Roycroft Press, 1900 


Limited Edition, autographed by the author. 


HUNT (LEIGH). The Story of Rimini. A Poem. 12mo, 
half brown levant morocco. London, 1816 


FINE COPY OF THE FIRST EDITION. This Poem was dedicated to Lord 
Byron. With autographs of Richard and Ann Mary Howitt Watts on 
the fly-leaf. 


25 


111 


112 


113 


114 


115 


116 


sOEFs 


The Months descriptive of the successive beauties of 
the Year. 12mo, three-quarter red morocco, gilt back, 
uncut. London, 1821 


FIRST EDITION, with the half-title. 


Lord Byron and some of his Contemporaries, with 
Recollections of the Author’s Life, and of his Visit to Italy. 
Portraits, and facsimiles of the handwriting of Byron, 
Shelley, and Keats. Ato, three-quarter blue morocco, gilt 
and inlaid back, uncut. London, 1828 


LARGE QUARTO COPY OF THE FIRST EDITION. This is the work which 
brought down on Hunt’s head severe, but well-deserved censure. 
Hunt expressed his deep regret for what he had written, in his 
“Autobiography.” 


Lord Byron and some of his Contemporaries, with 
Recollections of the Author’s Life and of his Visit to Italy. 
Portraits. 2 vols., 8vo, crushed dark purple levant morocco, 
Jansen style, inside dentelles. London, 1828 


FINE COPY. 


JEAFFRESON (JOHN CORDY). The Real Lord Byron. 
New Views of the Poet’s Life. 2 vols., crushed blue levant 
morocco, Jansen style, inside dentelles, uncut. London, 1883 


FINE COPY OF THE First LARGE TyPe LIBRARY EDITION. Inserted is 
a fine A. L. s. of the author regarding Lord and Lady Byron. 


The Real Shelley. New Views of the Poet’s Life. 2 
vols., 8vo, half brown morocco, gilt back, uncut, by 
Stikeman. London, 1885 


FINE COPY OF THE FIRST EDITION. Inserted in a 2 pp. A. L. s. from 
the author to Dr. Doran. 


KEATS (JOHN). Poetical Works. Portrait. 12mo, three- 
quarter blue morocco, gilt and inlaid back, uncut. 
London: Moxon, 1851 


FINE COPY, with the half-title. 


KENNEDY (JAMES). Conversations on Religion with Lord 
Byron and others, held in Cephalonia, a short time previous 
to his Lordship’s death. Facsimile plate. 8vo, three- 


quarter blue morocco, gilt and inlaid back, uncut. 
London, 1830 


FIRST EDITION. With the Buxton Forman bookplate. 
26 


118 LAMB (LADY CAROLINE). Glenarvon. 838 vols., 12mo, 


119 


120 


121 


three-quarter blue morocco, gilt and inlaid backs. 
London, 1816 


Inserted is a subscription clipped from a letter, in the autograph of, 
and signed by Lady Caroline Lamb. In this novel will be found 
printed a letter Byron wrote to Lady Caroline, breaking off their 
relations. The letter is certainly “a scorcher”, but it may have been 
ee to Byron by another lady with whom Byron was staying at 
the time. 


AUTOGRAPH LETTERS OF BYRONIC INTEREST 
WRITTEN BY LADY CAROLINE LAMB TO HER 
FRIEND LADY MORGAN 


LAMB (LADY CAROLINE). An intensely interesting Col- 
lection of 41 letters, the greater number written by Lady 
Caroline Lamb to her friend and confidante Lady Sydney 
Morgan, the Novelist. The letters consist of about 76 pages, 
4to and smaller, and are accompanied by typed transcripts. 
Handsomely bound in one volume, crushed brown levant 
morocco, gilt edges, by Riviere. In a lined cloth case. 


THESE LETTERS THROW CONSIDERABLE LIGHT ON LADY CAROLINE LAMB 
DURING THE LAST SIX OR SEVEN YEARS OF HER LIFE. Several of them 
are very strangely written, indicating the infirmity of her last days. 
Some of the letters CONTAIN MOST INTERESTING REFERENCES TO LORD 
BYRON, and in one of them she places in numerical order the people 
she loves. Her husband, William Lamb, coming first; her Mother 
second; AND LORD BYRON THIRD. 

Another letter is a lengthy and most pathetic AUTOBIOGRAPHY; in 
others again she gives Lady Morgan considerable information con- 
cerning the paintings of Salvator Rosa, and almost all bear evidence 
of the tragedy of her own life. 

A resumé of the contents of this volume is: 26 A. L. s. of Lady 
Caroline Lamb; 9 A. L. s. of her husband, William Lamb, afterwards 
Viscount Melbourne; 4 A. L. s. of her brother, the Hon. W. S. Pon- 
sonby; and one each of Miss Bryan, the Governess Lady Caroline 
mentioned to Lady Morgan, and Mrs. Hunter. Several portraits have 
been laid in. 


LANG (ANDREW). Letters to Dead Authors. 12mo, 


three-quarter blue morocco, gilt and inlaid back. uncut. 
London, 1886 


FIRST EDITION. Inserted is an A. L. s. of the author to William 
Winter, in which he says: “I know enough to know that the less we 
stir the old scandal about Byron the better. I was obliged to look 
into it, as the character of Mary Chaworth was being blackened to 
save that of the poet.” 


LOVELACE (MARY, COUNTESS OF). Ralph, Earl of 
Lovelace. Portraits. 8vo, three-quarter blue morocco, gilt 
and inlaid back. London, [1920] 


First EpITION. Author’s presentation copy, inscribed: “Wzth com- 
pliments from the author.” 


27 


122 


123 


124 


125 


126 


127 


128 


LOVELACE (RALPH MILBANK, EARL OF). Astarte. A 
fragment of truth concerning George Gordon Byron, Sixth 
Lord Byron. New Edition, with many additional letters 
edited by Mary, Countess of Lovelace. Portraits and fac- 
similes. 8vo, boards, linen back, uncut. In a half purple 
morocco slip case, gilt and inlaid back. London, 1921 


INSCRIBED COPY, with the following note on the half-title: 

“It is a pleasure to me to learn that this book is interesting to cultt- 
vated readers in America. It was a distinguished American, Mrs. 
Beecher Stowe, who by her revelations brought about the situation 
with which the grandson of Byron and his wife found himself com- 
pelled to deal.. ‘Astarte’ is the outcome of that situation. For a fuller 
explanation of these matters see Introduction. M. C. Lovelace, Editor.” 


McLAWS (LAFAYETTE). Maid of Athens. Illustrations 
from drawings by Harry C. Edwards. 12mo, three-quarter 
blue morocco, gilt and inlaid back. Boston, 1906 


FIRST EDITION. Autograph presentation copy from the author, name 
of recipient erased. 


MASON (EDWARD T., Editor). Personal Traits of British 
Authors. Portraits. 12mo, cloth. New York, 1885 


Treats of Byron, Shelley, Keats, and others. 


MEDWIN (THOMAS). Journal of the Conversations of 
Lord Byron: Noted during a Residence with his Lordship 
at Pisa, in the Years 1821 and 1822. Frontispiece facsimile 
of Byron’s handwriting. Ato, three-quarter blue morocco, 
gilt and inlaid back. London, 1824 


FINE LARGE COPY OF THE FIRST EDITION. Inserted is an A. L. s. from 
Medwin to H. W. Longfellow. 


MOLLOY (J. FITZGERALD). The Most Gorgeous Lady 
Blessington. Portrait. 2 vols., 8vo, three-quarter green 
levant morocco. London, 1896 


FINE COPY OF THE FIRST EDITION. Publishers’ embossed stamp on 
title-page of the first volume. 


INSERTED IS A 4 pp., A. L. s. of Lady Blessington, written on her 
monogrammed paper. 


[MOORE (THOMAS).] The Poetical Works of the late 
Thomas Little, Esq. 12mo, three-quarter blue morocco, gilt 
and inlaid back. Dublin, 1804 


Letters and Journals of Lord Byron: With Notices of 
his Life. Portrait of Byron, and 2 extra plates inserted. 
2 vols., 4to, three-quarter blue morocco, gilt and inlaid 
backs, uncut. London, 1830 


FINE LARGE COPY OF THE FIRST EDITION. INSERTED IS AN A.L.s. of 
THOMAS Moore to Mrs. Becher, wife of Byron’s friend who advised 
suppressing “Fugitive Pieces.” 


28 


129 


130 


131 


132 


133 


134 


NOEL (HON. RODEN). Life of Lord Byron. 8vo, three- 
quarter blue morocco, gilt and inlaid back, uncut. 
London, 1890 


LARGE PAPER COPY OF THE FIRST EDITION. Byron’s “The Monk of 
Athos” first appeared in this volume. 
LAID IN IS AN A.L.s. of the author. 


PARRY (WILLIAM). The Last Days of Lord Byron, with 
his Lordship’s Opinions on various subjects, particularly of 
the State and Prospects of Greece. Illustrated with 4 
colored plates by R. Seymour. 8vo, three-quarter blue mo- 
rocco, gilt and inlaid back, uncut. London, 1825 


FIRST EDITION. Parry was the “‘firemaster” sent out by the London 
Greek Committee to help Byron in establishing a factory for powder 
making. He drilled the men Byron took in his pay. 


[PIGOT (ELIZA B.).] The Private Correspondence of a 
Woman of Fashion. 2 vols., 12mo, three-quarter blue mo- 
rocco, gilt and inlaid backs, uncut, original front blue covers 
preserved. London, 1832 


WITH THE AUTOGRAPH OF “MRS.” PIGOT ON THE PRESERVED FRONT 
WRAPPERS. Miss Pigot was a Platonic flame of Byron’s youth, and 
greatly interested in his poetic exercises. She gave much information 
to Moore when he was writing his “Life” of Byron. 


BOOKS FROM NEWSTEAD ABBEY 


RICHARDSON (WILLIAM). Poems and Plays. Portrait. 
2 vols., 8vo, polished claret calf, blind tooling on backs, gilt 
borders, and arms deeply impressed on sides in gilt, with 
the initials ‘“‘T. W.” on either side of the shield, and “‘New- 
stead Abbey” beneath, gilt edges. Edinburgh, 1805 


These books were in all probability a portion of the library of Col. 
Wildman who purchased Newstead Abbey. 


ROBERTS (R. ELLIS). Samuel Rogers and his Circle. 
With 16 illustrations. Thick 8vo, three-quarter blue mo- 
rocco, uncut, by Macdonald. New York, 1910 
EXTRA-ILLUSTRATED by the insertion of 67 fine portraits and views of 
persons and places mentioned in the work. 

INSERTED is an A.N.s. of Samuel Rogers. 


ROXBURGHE CLUB. Lord Byron and his Detractors. to, 


_ boards, morocco back, uncut. 


135 


London: Printed for Private Circulation, 1906 
This scarce piece was written by John Muncy, the publisher. 
RYAN (P. AUSTIN). Newstead Abbey. and the Relics of 


Byron. Photographic frontispiece. 12mo. three-quarter 
blue morocco, gilt and inlaid back. Mansfield, [1874] 


oe 


136 


137 


138 


WITH AUTOGRAPH LETTER OF THE AUTHOR 
LAID IN 


SHELLEY (MARY W.). Frankenstein; or, The Modern 
Prometheus. 3 vols., 12mo, original boards (worn), uncut, 


paper labels. In protecting cloth covers and in a cloth slip 
case. London, 1818 


THE VERY RARE FIRST EDITION. INSERTED IS A 3 PP. A.L.s. of Mary 
W. Shelley, in which she asks if there is any chance of Mr. Colburn 
purchasing the copyright of “Frankenstein.” 


AUTOGRAPH LETTERS FROM MARY W. SHELLEY 
AND SIR PERCY F. SHELLEY TO 
CLAIRE CLAREMONT 


SHELLEY (MARY W. AND SIR PERCY F.). A Collection 
of 10 Autograph Letters from Sir Percy F. Shelley to Claire 
Claremont. Two of the letters contain Mary W. Shelley’s 
additions, amounting to three pages. There are 36 pp. in 
all, 4to and 8vo, written from Cambridge, Dresden, Flor- 
ence, etc., between 1838 and 1849. There are also 2 Orig- 
inal Autograph Poems by Sir Percy, ‘‘Viovanni at Putney,” 
and “Song of Venus to the Ground Shark.” These letters 
are tipped in one volume, with typed transcriptions, and 
bound in 4to, half blue morocco, gilt and inlaid back. 


A MOST INTERESTING COLLECTION OF LETTERS. The earliest was writ- - 
ten while Shelley’s son was at Trinity College. He writes in these 
early letters of Mr. and Mrs. Hogg, Gertrude, with whom he is having 
a sort of clandestine correspondence, and asks Claire’s aid, Charlotte. 
Later when he and his mother are at Florence, he writes urging her 
to let her lodgings for the winter and join them. Mrs. Shelley adds 
a full-page postscript to this letter, in which she endorses Percy’s 
idea. Reference is made by Mis. Shelley to the Opera House, prob- 
ably the one which proved so disastrous a speculation for Claire. 
She cannot get an offer for her box. Percy also writes of this in a 
letter from Cowes, dated August 13, 1846. 

THE ORIGINAL POEMS, judging from the handwriting, were written at 
an early period in Percy’s life, in all probability while he was at 
Trinity College. This collection should be attractive to the Shelley 
admirer, whose interest does not cease with Shelley’s death, but con- 
tinues with those whose lives were as intimately connected with the 
Poet, as Mary Godwin, Claire Claremont, her affinity-sister, and Sir 
Percy Shelley. 


SHELLEY (PERCY BYSSHE). History of a Six Weeks’ 
Tour through a part of France, Switzerland, Germany, and 
Holland. With Letters descriptive of a sail round the Lake 
of Geneva, and of the Glaciers of Chamouni. 12mo, three- 
quarter blue morocco, gilt and inlaid back, uncut. 

London, 1817 


First EDITION, with the half-title. This little volume has a peculiar 
interest, not only from its biographical value, but as showing Shelley’s 
idea of a book of travels in 1817. 


30 


139 


140 


141 


142 


143 


SHERIDAN (RICHARD BRINSLEY). The Dramatic 
Works of Richard Brinsley Sheridan. With an Introduction 
by Richard Grant White. Frontispiece portraits in two 
states, one a Proof before letters. 3 vols., 8vo, three-quarter 
blue morocco, gilt and inlaid backs, uncut. New York, 1883 


ONE OF 30 COPIES ON LARGE JAPAN VELLUM. This was Richard Grant 
White’s own copy. Inserted are two Autograph Letters, signed. One 
of Richard Brinsley Sheridan, 1 p., 4to; the other of Richard Grant 
White, 3 pp., 8vo. 


Sheridaniana; or, Anecdotes of the Life of Richard 
Brinsley Sheridan; his Table-Talk, and Bon Mots. Portrait. 
8vo, half green morocco, gilt back, uncut. London, 1826 


FIRST EDITION. 


SMILES (SAMUEL). Memoir and Correspondence of the 
late John Murray, with an account of the Origin and Prog- 
ress of the House, 1768-1848. Portraits. 2 vols., 8vo, three- 
quarter blue morocco, gilt and inlaid backs, uncut. 
London, 1883 


First EDITION. FINE copy. Contains much information concerning 
Murray’s dealings with Byron. 


[SMITH (HORATIO AND JAMES).] Rejected Addresses; 
or, the New Theatrum Poetarum. Tinted frontispiece por- 
traits and woodcut illustrations by George Cruikshank. 
12mo, half sprinkled calf, gilt back, uncut, by Morrell. 
London, 1891 


The Eighteenth Edition, but the First EDITION WITH THE CRUIK- 
SHANK ILLUSTRATIONS. Inserted are two Autograph Letters; one 
from Horace Smith, referring to Lord Byron; the other by James 
Smith. 


INSCRIBED COPY BY THE AUTHOR 


STOWE (HARRIET BEECHER). Lady Byron Vindicated. 
A History of the Byron Controversy from its beginning in 
1816 to the present time. 12mo, three-quarter blue morocco, 
gilt and inlaid back. Boston, 1870 


FINE COPY OF THE FIRST EDITION. On the fly-leaf is the following 
inscription in the handwriting of the author: “Trust in the Lord and 
Do good. Harriet Beecher Stowe.” 


ol 


144 


145 


146 


147 


148 


The Stowe-Byron Controversy: A complete Résumé 
of all that has been written and said upon the subject. . . 
together with an impartial review of the merits of the case. 
By the Editor of ‘Once a Week.” 12mo, three-quarter blue 
morocco, gilt and inlaid back, original wrappers bound in. 
London, n.d. 


TRELAWNY (E. J.) Recollections of the last days of 

Shelley and Byron. Tinted lithograph portraits and other 
illustrations. 12mo, three-quarter crushed brown levant 
morocco, gilt back, gilt edges, by Morrell. London, 1858 


A SUPERB COPY OF THE RARE FIRST EDITION. 


URIEL. A Poetical Address to Lord Byron, written on the 
Continent. With Notes, containing strictures on the spirit 
of Infidelity maintained in his Works, ete. 8vo, three- 
quarter blue morocco, gilt and inlaid back, uncut. 

London, 1822 


First EDITION. THE AUTHOR’S OWN INTERLEAVED COPY, FILLED WITH 
MANUSCRIPT NOTES. oe. 


[WATKINS (JOHN).] An Historical and Critical Memoir 
of the Life and Writings of the Right Honourable Lord 
Byron, with Anecdotes of some of his Contemporaries. Por- 
trait (a little spotted). S8vo, three-quarter blue morocco, 
gilt and inlaid back, uncut (small piece torn from corner 
of half-title). London: Thoman M’Lean, 1822 


First EDITION. 


PROPERTY OF THE BANKRUPT ESTATE OF 
JOHN J. PHELAN 


NUMBERS 148-168 


AUTOGRAPHS OF THE PRESIDENTS OF THE UNITED 
STATES. Portraits and autograph signatures of the 27 
Presidents from Washington to Wilson, inclusive, finely 
mounted and bound in one volume, 4to, crushed blue levant 
morocco, tooled with gilt fillets, doublures of crushed blue 
levant morocco, fillet borders, fly-leaves of blue watered 
silk, gilt edges, by Zaehnsdorf. 


AN ATTRACTIVE COLLECTION. 
S2 


149 BELLEMERE (EGIDIUS). Decisiones seu Conclusiones, 


150 


151 


152 


exacte reuise & diligenter castigate. Fine woodcut title 

and woodcut initials. Small 4to, new brown morocco, blind 

tooled, inside borders of red and green strap-work, doub- 

lures of parchment, brown silk fly-leaves. 

[Colophon]: Impresse Lugduni per Benedictum Bonnyn, 
Anno salutis, 1538 


VERY RARE. A fine copy. The printer’s mark appears in the centre 
of the title-page. 


BOUND FOR LOUIS XII BY CLOVIS EVE 


BINDING. Duchesne (André). Histoire Générale d’Angle- 
terre, d’écosse, et d’Irlande. Folio, olive crushed morocco, 
back panelled and richly gilt tooled with fleurs-de-lys and 
crowned ‘“L’’s, sides diapered with gilt fleurs-de-lys, with 
crowned ‘“‘L’’s at corners, and the arms of Louis XIII heav- 
ily gilt tooled in centres, by Clovis Eve. Paris, 1614 
THE DEDICATION COPY, bound by Clovis Eve for Louis XIII. Laid in 
is an A. L. s. from MARIE DE MEDICIS TO HER SON, Louis XIII, 1 p., 
Ato, n.p., n.d., with the two seals intact. The letter is addressed in 
another hand: “Au Roy, Monsieur mon filz.” Marie de Medicis, 
the second wife of Henry IV, was herself famous as a patron of 
literature and bibliopegy. HER HOLOGRAPH LETTERS ARE OF EXCES- 
SIVE RARITY. The present one is a splendid example, boldly written 
in her clear and legible hand, begging her son to accept her counsel. 


A SUPERB EXAMPLE OF FRENCH ROYAL BINDING, WITH HIGH ASSOCIA- 
TION INTEREST. 


BOOKS ABOUT BOOKS. Book-Plates (Hardy), London, 
1893; The Great Book-Collectors (Elton), London, 1893, 
2 copies, one on Small Paper; The Binding of Books 
(Horne), London, 1894. Numerous illustrations in color 
and monochrome. 4 vols., 8vo, cloth, vellum backs, uncut 
(one vol. in buckram). London, 1893-4 
peck one of 150 copies on Large Paper, with the exception noted 
above. 


BRYAN (MICHAEL). Dictionary of Painters and En- 
gravers. Revised and enlarged under the supervision of 
George C. Williamson. Numerous illustrations. 5 vols., 
Ato, half crushed olive levant morocco, gilt tooled, uncut. 

London, 1909-13 


FINE SET. 
33 


153 


154 


155 


156 


157 


158 


CERVANTES SAAVEDRA (MIGUEL DE). The History 
of the Valorous and Witty Knight-Errant Don Quixote of 
the Mancha. Translated by Thomas Shelton. Introduction 
by Royal Cortissoz. Illustrations by Daniel Vierge. 4 vols., 
with a portfolio of plates, white boards, half vellum, uncut. 

New York, 1906-7 


One of 140 copies on Imperial Japan Vellum, with two additional 
illustrations, and an extra set of the plates, Proofs before Letters. 


CHRONICLES OF AMERICA SERIES. Edited by Allen 
Johnson. Illustrated. 50 vols., 12mo, cloth, uncut (a few 
volumes slightly stained). 

New Haven: Yale University Press, 1919 


ABRAHAM LINCOLN EDITION. 


DIBDIN (THOMAS F.) The Library Companion. 8vo, blue 
morocco (name on title, acid stains on first few leaves). 
London, 1824 


FIRST EDITION. 


A Bibliographical, Antiquarian, and Picturesque Tour 
in France and Germany. Numerous illustrations. 3 vols., 
8vo, contemporary straight grained maroon morocco, gilt 
tooled, gilt edges. London, 1829 


Bibliomania; or Book-Madness. Title vignette on 
China paper, portrait and numerous illustrations. Royal 
8vo, green morocco, gilt tooled, uncut. London, 1876 


Fine copy. 


EGAN (PIERCE). Pierce Egan’s Finish to the Adventures 
of Tom, Jerry, and Logic, in their Pursuits through Life 
in and out of London. Illustrated by the pencil of Mr. Robert 
Cruikshank, in 36 Scenes from Real Life, & enriched with 
several Designs on Wood by the same Artist. 36 colored 
plates. Royal 8vo, crushed red levant morocco, back pan- 
elled and finely gilt tooled with foliate and emblematic de- 
signs, sides with fillet borders, and foliate and emblematic 
corner-ornaments, inside borders to match, uncut, original 
paper label mounted and bound in, by Wood. London, 1830 


First EDITION, Second Issue, without the woodcuts on pp. 40 and 42. 
Plates 6, 9, 13, 14, 15, 21, 23, 25, 26, 29, 31, 33, & 34.) haveuseenneee 
imprint in the margins. 


34 


159 


160 


161 


162 


FIELD (EUGENE). Writings in Prose and Verse. Iilus- 
trated. 12 vols., 12mo, half green morocco, gilt backs, uncut. 
New York, 1920 


SABINE EDITION. FINE SET, with the plates on Japan Vellum. In 
immaculate condition. 


HUNT (GEORGE). Airy Nothings; or, Scraps and 
Naughts, and Odd-cum-Shorts; in a Circumbendibus Hop, 
Step, and Jump, by Olio Rigmaroll. Drawn and written 
by M. E. Esq. Engraved by Geo. Hunt. With 23 plates, 
colored by hand. 4to, crushed brown morocco, back pan- 
elled and gilt tooled, sides with wide gilt borders, wide 
inside borders, gilt edges (a few leaves very lightly water- 
stained). London, 1825 


FIRST EDITION. RARE. 


LONGFELLOW (HENRY W.). Evangeline, A Tale of 
Acadie. 12mo, purple levant morocco, blind tooled, doub- 
lures of green levant morocco, gilt inside borders, purple 
suede fly-leaves, uncut, original glazed yellow paper covers 
mounted and bound in, with the original label. Boston, 1847 


GENUINE FIRST EDITION, with the letters n & g dropped from first 
line on p. 61. With the advertisements dated Oct. 1, 1847. Inserted 
is an A.L.s. from the author to Ticknor, 2 pp., 12mo, Camb., Apr. 22, 
1863, thanking him for a gift, and referring to an order to print 500 
copies of “Evangeline”. 


MESSAGES AND PAPER OF THE PRESIDENTS. = Iilus- 


trated. 20 vols., 8vo, brown morocco, gilt edges: 


163 


New York, [1897] 


RALFE (J.). The Naval Chronology of Great Britain; or, 
An Historical Account of Naval and Maritime Events, from 
the Commencement of the War in 1803, to the End of the 
Year 1816, &c. . . . The Whole forming a complete Naval 
History of the above Period. Illustrated with 60 fine col- 
ored plates. 3 vols., 8vo, crushed blue morocco, backs pan- 
elled and gilt tooled to ship design, sides with gilt fillets, 
inside gilt dentelles, gilt edges, by Riviere. London, 1820 


FINE COPY OF THE RARE FIRST EDITION, with fine impressions of the 
plates. One plate has been slightly repaired, several are trimmed 
into the letter-press. 


35 


164 SPORTING. The Book of Sports, British and Foreign; de- 


165 


166 


167 


voted to the Pictorial Illustrations of the Pursuits of the 
Sportsman in every Quarter of the Globe. Vols. I-II. [all 
issued]. Numerous engravings. 2 vols. in one, 4to, half 


leather (slightly rubbed). London, 1843 
SCARCE. 
The Gun at Home and Abroad: British Game Birds 


and Wildfowl, by W. R. Ogilvie-Grant, A. A. Agland-Hood, 
and others; British Deer & Ground Game, Dogs, Guns & 
Rifles, by J. G. Millais, W. Baxendale, and others; The Big 
Game of Africa & Europe, by F. C. Selous, J. G. Millais, 
and Abel Chapman; The Big Game of Asia and North 
America, by D. Carruthers, P. B. Van der Byl, and others; 
Fishing at Home & Abroad, edited by Sir Herbert Maxwell. 
Profusely illustrated with plates in color and monochrome. 
5 vols., 4to, brown morocco, gilt tooled, uncut. 

London, 1912-5 


One of 500 and 750 copies respectively. A FINE SET OF THIS MAG- 
NIFICENT WORK. Complete sets are RARE. 


STATHAM (NICHOLAS). Abridgment of the Law. Trans- 
lated by Margaret C. Klingelsmith. Facsimiles. 2 vols., 
thick 4to, buckram, uncut. [ Boston, n.d. ] 


Translated from Pynson’s rare black-letter edition. The work con- 
sists of cases down to the end of Henry VI, and contains many orig- 
inal authorities not in the Year Books of those times; it is the first 
attempt to systematise English Common Law. 


STRICKLAND (AGNES). Lives of the Queens of England 
from the Norman Conquest. Compiled from Official Rec- 
ords and other authentic Documents, Private as well as 
Public. Preceded by a Biographical Introduction by John 
Foster Kirk. Numerous plates, in two states, many colored 
by hand. 16 vols., 8vo, crushed green levant morocco, gilt 
decorated panelled backs, sides with richly gilt tooled cor- 
ner ornamentation, doublures of crushed purple levant mo- 
rocco, with gilt foliate corners, fly-leaves of white watered 
silk, gilt tops, uncut. 
Philadelphia: Printed for Subscribers by 
George Barrie & Son, n.d. 


A CHOICE SET. One of 1000 copies on Japan vellum. EXTRA-ILLUS- 
TRATED by the insertion of an A.L.s. of the author, and about 60 
portraits and views. 


36 


168 


169 


170 


WALTON (IZAAK) AND COTTON (CHARLES). The 
Complete Angler, London: Major, 1823; The Lives of 
Donne, Wotton, Hooker, Herbert, and Sanderson (Walton), 
London: Major, 1825; The Life of Isaac Walton (Zouch), 
London: Prowett, 1823. With numerous woodcuts and 
copper-plate engravings. 3 vols., 8vo, crushed green levant 
morocco, backs panelled and emblematically tooled, sides 
with gilt borders, emblematic corner-ornaments, wide in- 
side borders to match, doublures and fly-leaves of brown 
watered silk, gilt edges, by Riviere. London, 1823-5 


BEAUTIFUL COPIES OF MAJorR’S EDITIONS OF THE FIRST TWO TITLES, ON 
LARGE PAPER, WITH THE PLATES ON INDIA PAPER, MOUNTED. Zouch’s 
Life of Walton is the First EDITION, ON LARGE PAPER, with ‘many of 
the plates in PROOF STATE, some PROOFS BEFORE LETTERS. A SUPERB 
SET. 


A NEW YORK 
SHAKESPEARE COLLECTION 


NUMBERS 169-188 


[HALL (BISHOP JOSEPH).] Virgidemiarvm, Sixe 
Bookes. First three Bookes, Of Tooth-lesse Satyrs. 1. 
Poeticall. 2. Academicall. 3. Morall. Dexter’s device. 
London: Printed by Thomas Creede, for Robert Dexter, 
1597 
Virgidemiarvm, The three last Bookes. Of byting Satyres. 
Dexter’s device. 
Imprinted at London by Richard Bradocke for Robert 
Dexter at the signe of the Brasen Serpent in Paules 
Church yarde, 1598 
FIRST EDITION OF BOTH PARTS. Collation: Al (blank and missing), 
title on A2, A8-8, B to E in eights, F4 (last blank and present) ; 
Part II: A2, B to H in eights (H6, H7, and H8 blank and present). 
The first title is in facsimile. 


HEYWOOD (THOMAS). The Rape of Lucrece. A True 
Roman Tragedy. With the seuerall Songs in their apt places, 
by Valerius the merry Lord among the Roman Peeres. The 
Copy revised, and sundry Songs before omitted, now in- 
serted in their right places. Acted by Her Majesties Ser- 
vants at the Red-Bull. Small 4to, crushed crimson levant 
morocco, gilt fillets, inside gilt borders (title remargined), 
by the French Binders. 
London: Printed by Iohn Raworth, for 
Nathaniel Butter, 1638 
In this edition there are five additional songs. The John Philip 


Kemble copy, with autograph inscription on title: “Collated & per- 
pect, J.P... 1798.  VERY<RARE: 


37 


171 


172 


THE SOURCE OF “ROMEO AND JULIET” 


[SHAKESPEARE.] Porto (Luigi da). Rime et Prosa di 

Messer Lvigi da Porto. Dedicate al Reverendissimo Car- 

dinal Bembo. Architectural border on title, fine printer’s 

mark on penultimate leaf. Small 8vo, old boards (worn, 

border on title slightly trimmed into). 

[Colophon:] Stampata in Venetia Per Francesco Marcolini 
del mese di Ottobre nell’ Anno del Signore. MDXXXIX 


THIRD EDITION. AN EXCESSIVELY RARE SOURCE-BOOK, CONTAINING THE 
ORIGINAL OF “ROMEO AND JULIET.” The author repeats the tale as it 
was told him by a Veronese archer named Pellegrino, “a good story- 
teller as are all the Veronese”; THE NAMES OF ALL THE PRINCIPAL 
CHARACTERS, Capulet, Montague, Romeo, Juliet, Mercutio, Tybalt, 
Friar Laurence, and Peter, ARE HERE ALSO, FOR THE FIRST TIME, USED, 
although in their Italian form. Bandello wrote a version of this 
story, which, in. the French translation of 1559, was used by Arthur 
Brooke for his ‘“‘Romeus and Juliet,” 1562, which was the direct 
source of Shakespeare’s first tragedy. The First Edition of this little 
work was issued in 1530, although undated; the Second Edition ap- 
peared in 1535. A copy of the latter is in the British Museum, and 
has been mistaken by virtuaily all Shakespearean bibliographers for 
the First Edition. AN EXAMPLE OF EITHER OF THE FIRST THREE 
EDITIONS IS A SUPERLATIVE RARITY. The present copy is a fine one, 
from the Heber Library, with the stamp on fly-leaf, and the book- 
plate of Maurice Jonas. The blank leaf at end is present. 


[SEE ILLUSTRATION | 


A “ROMEO AND JULIET” SOURCE-BOOK 


[SHAKESPEARE.] L‘infelice amore dei dve fedelissimi 
amanti Givlia, e Romeo, scritto in ottava rima da Clitia 
nobile Veronese ad Ardeo svo. Printer’s mark on title- 
page and woodcut initials. Small 8vo, crushed green levant 
morocco, line borders, inside gilt dentelles, gilt edges on the 
rough, by Lloyd, Wallis, and Lloyd. a 
Vinegia: Gabriel Giolito, 1553 
THE EXCESSIVELY RARE FIRST EDITION. According to Frankel’s table, 
it was from this work of Clizia and that of da Porto, that Bandello 
drew the material for his Ninth Nouvelle, which, as shown above, 
leads to the foundation play of “Romeo and Juliet.” THIS AND THE 
PRECEDING WORK TOGETHER FORM THE WHOLE ORIGIN OF BANDELLO’S 


TALE, barring only the 32nd Nouvelle of Massucio, in which the story 
is but dimly foreshadowed. AN EXTREMELY CHOICE COPY. 


38 


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——— 


THE SOURCE OF “ROMEO AND JULIET” 
[NUMBER 171] 


173 


174 


THE FOUNDATION OF “OTHELLO” 


[SHAKESPEARE.]  Giraldi-Cinthic ( Giovanni Battista). 
De Gli Hecatommithi. Device on titles, engraved portrait 
on versos, woodcut initials. 2 vols., thick small 8vo, olive 
morocco, backs panelled and gilt tooled, sides with gilt 
fillets, gilt edges, by Leighton (some marginal repairs). 
Nel Monte Regale: Appresso Lionardo Torrentino, 1565 


THE VERY RARE FIRST EDITION OF BOTH PARTS, COMPLETE, WITH THE 
GENUINE BLANK LEAVES. The excessive difficulty of procuring a com- 
plete copy of this first and rarest edition is well known to collectors 
of Shakespeareana, and has caused it to be considered almost unob- 
tainable. The 7th Nouvelle of the 3rd Decade is the foundation story 
of “Othello.” Cinthio gives the name Desdemona to his heroine, 
Othello, however, is called simply “A Moorish Captain.” Whetstone’s 
play and prose tale of ‘Promos and Cassandra,” on which Shakes- 
peare founded “Measure for Measure,” were based on the 5th Nou- 
velle of the 8th Decade. To this source must be credited also the 
plot of Beaumont’s and Fletcher’s “Custom of the Country.” This 
collection of tales told after the manner of Boccaccio and Bandello is 
Cinthio’s most important work. 


The Copie of a Letter sent out of England to Don 
Bernardin Mendoza, Ambassadour in France for the King 
of Spaine, declaring the state of England, contrary to the 
opinion of Don Bernardin, and of all his partizans Span- 
iardes and others. Small 4to, green morocco, gilt tooled, 
with the crest of Christie-Miller on sides, gilt edges, by 
Riviere (old name on title, several margins stained). 
Imprinted at London by I. Vautrollier for 
| Richard Field, 1588 


Richard Field, a native of Stratford, is thought to have been the 
only resident of London in 1586, to whom the youthful Shakespeare, 
newly arrived in the metropolis, was likely to have been known. Field 
had left Stratford in 1579 to serve an apprenticeship with Vau- 
trollier, the printer, and after Vautrollier’s death in March, 1587-8, 
the apprentice married Jacklin Vautrollier, the printer’s daughter. 


IT IS THOUGHT THAT FIELD FOUND WORK FOR THE YOUNG SHAKES- 
PEARE IN THE PRINTING HOUSE, AND THAT THE GREAT DRAMATIST HAD, 
DOUBTLESS, SOME HAND IN THE PRINTING OF THIS VOLUME. It is not 
impossible that the descriptions therein contained, of the shipwrecks 
and disasters following the defeat of the Spanish Armada, touched 
the dramatist’s imagination in the writing of “The Tempest.” 


40 


175 


176 


177 


SECOND QUARTO “MERCHANT OF VENICE” 


SHAKESPEARE. The Excellent History of the Merchant 
of Venice. With the extreme cruelty of Shylocke the lew 
towards the saide Merchant, in cutting a iust pound of his 
flesh. And the obtaining of Portia, by the choyce of three 
Caskets. Written by W. Shakespeare. Small 4to, crushed 
crimson levant morocco, inside gilt dentelles, gilt edges. 
Printed by J. Roberts, 1600 


THE SECOND QUARTO. There are but 26 copies known. Pollard be- 
lieves this to have been printed by Isaac Jaggard in 1619. UNTIL 
1908 THIS WAS CONSIDERED THE FIRST QUARTO; recently, however, 
precedence has been accorded Heyes’ edition. Ff. F-F4 and K are in 
very excellent facsimile; there are some marginal repairs. 


The first part Of the true & honorable history, of the 
Life of Sir Iohn Old-castle, the good Lord Cobham. As it 
hath bene lately acted by the Right honorable the Earle of 
Notingham Lord High Admirall of England, his Seruants. 
Written by William Shakespeare. Small 4to, crimson mo- 
rocco, gilt tooled, gilt edges. 

London, printed for T. P., 1600 


SECOND EDITION. This was one of the seven spurious plays added to 
the folio of 1664. Pollard believes this to have been printed by Isaac 
Jaggard in 1619. A CHOICE COPY, with the bookplates of Brayton 
Ives and Thos. Gaisford. 


SECOND QUARTO “MIDSUMMER NIGHT’S DREAM” 


SHAKESPEARE. A Midsommer nights dreame. As it 
hath beene sundry times publikely acted, by the Right 
Honourable, the Lord Chamberlaine his seruants. VVritten 
by VVilliam Shakespeare. Small 4to, crushed crimson 
levant morocco, inside gilt dentelles, gilt edges, by Riviere. 

Printed by Iames Roberts, 1600 


THE SECOND QuARTO. There are but 27 copies known. Pollard be- 
lieves this to have been printed by Isaac Jaggard in 1619. There 
are two editions dated 1600, the other one bears the imprint: ‘Im- 
printed for Thomas Fisher.” The present edition is accorded second 
place by many bibliographers, although two eminent authorities, Halli- 
well and Fleay, GIVE PRECEDENCE TO THIS UNREGISTERED QUARTO OF 
ROBERTS. Several upper margins in this copy have been extended 
and the running-heads supplied in facsimile; the title, and ff. A4, C8, 
and E2 are in very excellent facsimile. 


41 


178 


179 


180 


SECOND QUARTO “LEAR” 


SHAKESPEARE. M. VVilliam Shake-speare, His True 
Chronicle History of the life and death of King Lear, and 
his three Daughters. With the vnfortunate life of Edgar, 
sonne and heire to the Earle of Glocester, and his sullen 
and assumed humour of Tom of Bedlam. As it was plaid 
before the Kings Maiesty at White-hall, vpon S. Stephens 
night, in Christmas Hollidaies. By his Maiesties Seruants, 
playing vsually at the Globe on the Banck-side. Small 4to, 
crushed crimson levant morocco, inside gilt dentelles, gilt 
edges, by Riviere. Printed for Nathaniel Butter, 1608 


THE SECOND QUARTO. There are but 31 copies known. Pollard be- 
lieves this to have been printed by Isaac Jaggard in 1619. The 
upper margins throughout, and some lower margins, have been ex- 
tended, the running-heads, where necessary, having been supplied in 
facsimile. 


KEMBLE’S COPY, WITH MS. NOTES 


SHAKESPEARE. A Most pleasant and excellent con- 
ceited Comedy, of Sir Iohn Falstaffe, and the merry VViues 
of VVindsor. VVith swaggering vaine of Ancient Pistoll, 
and Corporall Nym. Written by W. Shakespeare. Small 
Ato, crushed crimson levant morocco, gilt fillets, inside gilt 
dentelles, by the French Binders. 

Printed for Arthur Johnson, 1619 


THE SECOND QUARTO. There are but 34 copies known. Pollard be- 
lieves this to have been printed by Isaac Jaggard in 1619. A MOST 
INTERESTING AND DESIRABLE COPY, being the Devonshire-Kemble copy, 
each leaf inlaid. At the foot of the title, on the inlay, is the fol- 
lowing note in Kemble’s hand: “This is the second Edition of The 
merry Wives of Windsor, which I have collated with the first, printed 
in 1602. J. P. Kemble.” On a fly-leaf facing the title is Kemble’s 
transcription of the title of the First Quarto, and THROUGHOUT THE 
VOLUME HE HAS NOTED THE VARIATIONS IN THE TWO EDITIONS. 


FIRST QUARTO “TWO NOBLE KINSMEN” 


SHAKESPEARE. The Two Noble Kinsmen: Presented at 
the Blackfriers by the Kings Maiesties servants, with great 
applause: Written by the memorable Worthies of their 
time; Mr. John Fletcher, and Mr. William Shakespeare. 
Gent. Small 4to, crushed crimson levant morocco, Jansen 
style, inside gilt dentelles. 

Printed at London by Th. Cotes, for Iohn Waterson, 1634 


THE First QUARTO. Collation: title, B to M in fours, N1 (contain- 
ing the Epilogue). A SUPERB COPY, MEASURING 73/16 inches by 
5 8/16 inches. It is generally conceded that Shakespeare had a hand 
in the creation of this remarkable play, although some have consid- 
it spurious. The present copy has some trifling marginal repairs. 


[ SEE ILLUSTRATION ] 
42 


THE 
TWO 


NOBLE 


KINSMEN: 


Prefented atthe Blackfriers 
by the Kings Maiefties fervants, 


with great applaufe: 


Written by the memorable Worthies 
- th their time; 
', Fobu Fletcher and , 
M. William S Be ete ai 


— 


eo TT 


—_— 


Printed at London by The. Cotes for tohn Waterfon: 
and are to be fold at the figne ofthe Crowne 
in Panl/s Church-yafd. 1 6 3 4+ 


A SUPERB COPY OF THE FIRST QUARTO 
[NUMBER 180] 


181 


182 


183 


184 


185 


Julius Caesar: A Tragedy. As it is now Acted at the 
Theatre Royal. Written by William Shakespeare.  4to, 
crushed crimson levant morocco, back and sides finely gilt 
and blind tooled, inside gilt dentelles, gilt edges, by Broca. 

London: Printed by H. H. Jun. for Hen. Herringman 
and R. Bentley, [1680] 


THE First SEPARATE EDITION. The lower margin of title, and one or 
two lower corners have been extended. 


A Collection of Poems, viz. I. Venus and Adonis. II. 
The Rape of Lucrece. III. The Passionate Pilgrim. IV. 

Sonnets to Sundry Notes of Musick. Small 8vo, wrappers 
(small hole in title, two old stamps on title, somewhat 
stained) . London, B. Lintott, [1709] 


THE FIRST EDITION to include “Venus and Adonis” and ‘‘Lucrece.” 


[King Henry VIth, Parts IJ-III.] The Whole Conten- 
tion between the two Famous Houses, Lancaster and Yorke. 
With the Tragicall ends of the good Duke Humfrey, Richard 
Duke of Yorke, and King Henrie the sixt. Diuided into 
Parts: And newly corrected and enlarged. Written by 
William Shakespeare, Gent. Small 4to, crushed crimson 
levant morocco, inside gilt dentelles, gilt edges, by Riviére. 
Printed at London for T. P., n.d. 


First EDITION OF PARTS II-III COMBINED, OF “KING HENRY VITH.” 
A few small holes in the inner margins have been skilfully repaired; 
there is faint ancient writing on the verso of title. EXCESSIVELY 
RARE. 


Dramatic Works. Illustrated with engravings. Thick 
8vo, morocco (title wanting, loose in binding). N.p., n.d. 


The illustration to ‘The Merchant of Venice” has been autographed 
by Ellen Terry and Henry Irving, and dated ‘‘Lowisville, Ky. 1896,” 
in Irving’s hand. With an authentication by E. S. Fagg, stating 
that the book had been given originally to Irving by Edward VIIth 
while Prince of Wales. 


Bronze bust, after that in Westminster Abbey. 12 
inches high. 


44 


186 


187 


SHAKESPEAREANA. Corbet (Bishop Richard). Certain 
Elegant Poems. Small 8vo, limp boards (somewhat frayed 
and stained). London, 1647 


FIRST EDITION OF THE FIRST PART, WITH “FINIS” ON PAGE 58, FOL- 
LOWED BY THE GENUINE BLANK LEAF E4. It has been stated that this 
is probably A FIRST ISSUE OF THIS EDITION, and that copies with the 
Second Part occupying sigs F and G are of the Second Issue, as there 
are Poems in that part duplicating some in the First Part. 
On p. 12 occurs what is probably the First mention of the Play of 
“King Richard” on the stage: 

“*.. . he mistook a Player for a King, 

For when he would have said, King Richard dy’d, 

And call’d a Horse, a Horse, he Burbage cry’d.” 
Bound in with this is a First Edition of Cleveland’s Poems, 1651, 
slightly imperfect. 


A Collection of 20 engravings by Bunbury after Chap- 
man, Bartolozzi, and other, to illustrate the Works of 
Shakespeare. 20 plates. Royal 4to, half calf (worn). 

igs teks VEGI 


Forty-eight plates were to have been issued but only 20 actually 
appeared. With the bookplate of Sir Robert J. Eden. 


188 —— Acheson (Arthur). Shakespeare’s Sonnet Story: 1592- 


1598. With an Appendix on the Crosse Inn and the Tavern 
of Oxford, by E. Thurlow Leeds. Thick 8vo, cloth, uncut. 
London: Quaritch, 1922 


FIRST EDITION. Autographed by the author on the half-title. 


SALE TUESDAY EVENING, DECEMBER 8, AT 8:15 


SECOND SESSION 
NUMBERS 189-367 


A PORTION OF THE LIBRARY OF 
NEWBURY FROST READ 


NUMBERS 189-254 


UNIQUE SET OF THE “FAIRY LIBRARY” 


189 CRUIKSHANK (GEORGE). The Fairy Library. TIllustra- 
tions by George Cruikshank. 4 vols., small 4to, original 
green printed cardboard wrappers, with woodcuts, enclosed 
in cloth slip case. London, [1853-64] 


FIRST EDITIONS OF EACH VOLUME, as follows: 


Hop-o’ my-Thumb and the Seven League Boots. 
London: David Bogue, [1853] 
UNIQUE COPY, with the plate: “The Giant Ogre discovers 
Hop o’ my Thumb and his Brothers” in a VERY EARLY AND 
UNDESCRIBED STATE, WITH REMARQUE HEADS IN THE UPPER 
LEFT HAND MARGIN. The wrappers are correct. 


The History of Jack and the Bean-Stalk. 

London: David Bogue, [1854] 
IN THE VERY RARE FIRST STATE, without the lines in Jack’s 
head in the second plate. INSERTED IS THE ORIGINAL DRAWING 
of the illustration: “The Fairies tie the Giant, up in the 
Bean-Stalk”; the caption of the drawing differs, however. 
The letter-press on the back wrapper is wrong. 

Cinderella and the Glass Slipper. London: David Bogue, [1854] 
WITH ORIGINAL COLORED DRAWING: “The Fairy changing Cin- 
derella’s Kitchen dress into a beautiful Ball Dress,” and a 
leaf of pencilled sketches, SIGNED TWICE IN INK. The wrap- 
pers are correct. 

Puss in Boots. London: Routledge, Warne, and Routledge, [1864] 
THE EXTREMELY RARE FIRST ISSUE, with the leaf at end bear- 
ing the cover design printed on white paper (First Issue of 
imprint), and the “Notice to the Public” on verso, but in 
different type from that employed on verso of front wrapper. 
THIS LEAF IS UNMENTIONED BY EITHER DOUGLAS OR COHN. 
WITH THE ORIGINAL SIGNED COLORED DRAWING: “Tom Puss 
commands the Reapers.” 


190 [DICKENS (CHARLES).] Playbill of a performance of 
“The Strange Gentleman” at St. James’s Theatre, Liver- 
pool, Nov. 5, 1836. 15 inches by 834 inches (edges slightly 
frayed), enclosed in cloth protective case. [Liverpool, 1836] 


RARE. 
AT 


191 


Sunday under Three Heads. As It Is; As Sabbath 
Bells Would Make It; As It Might Be Made. By Timothy 
Sparks. With three woodcut plates, and three vignettes 
on title, repeated on front wrapper. Small 8vo, original 
wrappers (skilfully mounted and rebacked), enclosed in a 
crushed blue levant morocco solander case, back panelled 
and gilt tooled with floral sprays, sides with gilt corner 
ornaments of floral sprays. 

London: Chapman and Hall, 1836 


. FIRST EDITION OF ONE OF THE RAREST OF DICKENS’S MINOR BOOKS. 


192 


193 


194 


195 


— The Village Coquettes: A Comic Opera. In Two Acts. 
By Charles Dickens. The Music by John Hullah. 8vo, 
crushed red levant morocco, back and side with gilt fillets, 
inside gilt dentelles, uncut. London: Richard Bentley, 1836 


THE RARE FIRST EDITION. FINE copy. With the Bookplate of J. F. 
Hinckley. 


— The Posthumous Papers of the Pickwick Club. Edited 
by “Boz.” With illustrations by Seymour, Buss and H. K. 
Browne. 20 parts in 19, 8vo, original green printed wrap- 
pers, uncut (backs skilfully reinforced), enclosed in a cloth 
protective case. London: Chapman & Hall, 1836-7 


FIRST EDITION IN THE ORIGINAL PARTS. All the wrappers are dated 
1836; the wrapper of Part I carries the words “With four illustra- 
tions by Seymour”; Part II has the printed address announcing the 
suicide of Seymour; the addresses by the author and the publishers 
are present. The ‘Pickwick Advertiser” is contained in Parts IX to 
XIX, together with many of the back advertisements, including the 
RARE Henekey Wine List in Part IX. THE MAJORITY OF THE PLATES 
ARE IN THE FIRST STATE, INCLUDING THE ‘‘VELLER” TITLE-PAGE AND 
THE BUSS PLATES. 


The Strange Gentleman. 12mo, lavender wrappers, 
uncut, in a cloth protective case. 
London: Chapman and Hall, 1837 [reprint] 


Memoirs of Joseph Grimaldi. Edited by ‘‘Boz.” With 
illustrations by George Cruikshank. 2 vols., 8vo, original 
pink cloth, uncut (backs faded, somewhat foxed). 

London, 1838 


FIRST EDITION. FIRST ISSUE, in pink flowered cloth, with the “Last 


Song” without “Crowquill’s” grotesque border. The advertisements 
are present. 


48 


196 


197 


198 


LOS 


PRESENTATION COPY FROM DICKENS 


Oliver Twist; or, The Parish Boy’s Progress. By 
“Boz.” Illustrated by George Cruikshank. 38 vols., small 
8vo, red morocco, gilt arabesques on backs and sides, doub- 
lures and fly-leaves of blue moiré, gilt edges, by Hayday 
(plates somewhat time-stained), enclosed in a green mo- 
rocco solander case, tooled in gilt and blind. London, 1838 


First EDITION. Second Issue, with the substitute plate in Vol. III. 
PRESENTATION COPY FROM THE AUTHOR, inscribed on title, in Dickens’ 
autograph: “Mr. Sergeant Talfourd, With the best regards of 
Charles Dickens.” Talfourd has written on one of the fly-leaves, a 
sonnet: “To Charles Dickens, Esq. on reading the completed Oliver 
Twist.” A VERY CHOICE ASSOCIATION ITEM. 


[Pickwick Papers.] The Beauties of Pickwick. Col- 
lected and Arranged by Sam Weller. 8vo, sewn (title re- 
paired and with slight tear), in a cloth protective case. 

London: W. Morgan, 1838 


SCARCE. 


The Loving Ballad of Lord Bateman. Illustrated by 
George Cruikshank. Square 18mo, original limp cloth, with 
gilt design (some plates slightly foxed). 

London: Charles Tilt, 1839 


FirST EDITION. With the page numbers in centre, the printers’ im- 
print on verso of title, but with the reading “vine” in stanza five. 
The Notes and Preface are from the hand of Dickens; the text is 
conceded to be the work of Thackeray. 


Master Humphrey’s Clock. With illustrations by 
George Cattermole and H. K. Browne, and one by Maclise. 
88 parts, royal 8vo, white printed wrappers, uncut (small 
hole burnt in one wrapper). 

London: Chapman and Hall, 1840-1 


A CHOICE COPY OF THE FIRST ISSUE OF THE FIRST EDITION, IN WEEKLY 
PARTS, THE MOST DIFFICULT OF ALL THE FORMS OF THIS WORK TO SE- 
CURE IN PERFECT CONDITION. EXTRA-ILLUSTRATED BY THE INSERTION 
OF 24 ENGRAVINGS BY PHIZ, MEADOWS, MARTINEAU, AND OTHERS, SOME 
ON INDIA PAPER. This work contains THE FIRST APPEARANCE of “Bar- 
naby Rudge” and “The Old Curiosity Shop.” 


49 


200 


WITH ORIGINAL DRAWINGS 


Master Humphrey’s Clock. With illustrations by 
George Cattermole and Hablot K. Browne. 3 vols., imp. 
8vo, crushed green levant morocco, backs panelled and gilt 
tooled, sides with gilt fillets, inside with dentelles, uncut, 
original wrappers and advertisements bound in, by Rivieére. 
London, 1840-1 


First EDITION, BOUND UP FROM THE EIGHTY-EIGHT WEEKLY PARTS, 
with all the wrappers and advertisements, but without the addresses. 


_ EXTRA-ILLUSTRATED IN AN EXTENSIVE MANNER, by the insertion of an 


201 


INDIA PROOF PORTRAIT of Dickens; an A.L.s. by Thos. Sibson, the 
artist, to Wm. Bell Scott, 4 pp., 4to, dated May 23, 18438; oRIGINAL 
PENCIL DRAWING of a portrait of Sibson by Wm. Bell Scott; ORIGINAL 
DRAWING by Sibson: “The Old Man imploring Quilp to make further 
advances’’; ORIGINAL DRAWING by J. Clayton Clarke: “The Travelling 
Showman”; AND ORIGINAL WATER-COLOR DRAWING by Clarke; a series 
of 72 plates by Sibson, some inlaid, as issued by Tyas; 8 SCARCE 
PLATES by “Phiz” as issued by Chapman & Hall in sets of four; 23 
wood-engravings, INDIA PROOFS; & two photographs of Dickens. With 
the Borden bookplate. 


WITH FOUR OF THE ORIGINAL DRAWINGS 


The Life and Adventures of Martin Chuzzlewit. With 
illustrations by H. K. Browne. 2 vols., 8vo, crushed green 
levant morocco, backs panelled and gilt tooled, sides with 
gilt fillets, inside dentelles, uncut, with the original wrap- 


pers and advertisements bound in, by Riviére. 
London, 1843-4 


FIRST EDITION, BOUND UP FROM THE ORIGINAL PARTS, with the wrap- 
pers and advertisements preserved. THE FIRST ISSUE, with the trans- 
posed L in the engraved title. THE PRESENT COPY IS EXTRA-ILLUS- 
TRATED by the insertion of FOUR ORIGINAL DRAWINGS BY “PHIz”: “Mr. 
Tapley succeeds in finding a jolly subject for contemplation’, “The 
Board”; “Easy Shaving’; with a PROOF IMPRESSION of an engraving 
from the same; and “Mysterious Installation of Mr. Pinch.” There 
are also inserted, an INDIA PROOF PORTRAIT of Dickens, and 15 wood- 
engravings, also INDIA PROOFS. With the Borden bookplate. 


50 


202 


203 


204 


205 


Christmas Books. 5 vols., 12mo, original cloth, gilt 
edges. London, 1843-8 


First EDITIONS OF EACH VOLUME, as follows: 


A Christmas Carol. In Prose. Being A Ghost Story of Christ- 
mas. Illustrations by John Leech, brilliantly colored. 
London: Chapman & Hall, 1843 
FIRST ISSUE, with “Stave I,” title in blue and red, brown 
cloth binding (slightly stained), and green end-papers. 
The Chimes: A Goblin Story of Some Bells that Rang an Old 
Year Out and a New Year In. Engraved frontispiece and title- 
page, and woodcuts by Maclise, Doyle, Leech and Stanfield. 
London: Chapman and Hall, 1845 
FIRST ISSUE, with the publishers’ name as part of the en- 
graved title. A name has been removed from the fly-leaf by 
acid. 
The Cricket on the Hearth: A Fairy Tale of Home. Engraved 
frontispiece and title-page, and woodcuts by Macelise, Doyle, 
Leech and Stanfield. London: Bradbury and Evans, 1846 
FIRST EDITION. Name erased from fly-leaf. 
The Battle of Life: A Love Story. Engraved frontispiece and 
title-page, and woodcuts by Maclise, Doyle, Leech and Stanfield. 
London: Bradbury and Evans, 1846 
FIRST EDITION. Eckel’s Fourth Issue. With the bookplate 
of W. J. Dyer. 
The Haunted Man and the Ghost’s Bargain: A Fancy for 
Christmas-Time. Engraved frontispiece and title-page, and 
woodcuts by Tenniel, Stanfield, Stone and Leech. 
London: Bradbury and Evans, 1848. 


FIRST EDITION. FINE COPY. 


Evenings of a Working Man, Being the Occupation of 
his Scanty Leisure: By John Overs. With a Preface rela- 
tive to the Author, By Charles Dickens. Title printed in 
red and blue. 12mo, original salmon-colored cloth, gilt 
edges, yellow end-papers, enclosed in an olive morocco 
solander case. London: T. C. Newby, 1844 


First EDITION. ScARcE. <A FINE copy. Inserted is an A.L.s. (ini- 
tials) by Dickens to John Overs, referring him to several publishers, 
among them the publisher of the present book, 1 p., 8vo., dated, 
Devonshire Terrace, Tenth May, 1844. A VERY INTERESTING COPY, 
CONNECTING IN DICKENS’ AUTOGRAPH, HIMSELF, HIS PROTEGE, AND THE 
PUBLISHER. 


The Adventures of Oliver Twist. Illustrated by George 
Cruikshank. 10 parts, 8vo, green printed wrappers, uncut 
(backs skilfully reinforced), enclosed in a cloth slip case. 
London, 1846 


First OcTAvo EDITION, in the original parts, with the advertisements. 
FINE COPY. VERY RARE. 


Dombey and Daughter: A Moral Fiction. By Renton 
Nicholson. Illustrated with woodcuts. Royal 8vo, wrap- 
pers (wrappers time-stained, back chipped). 

London: T. Farris, [1848] 


First EDITION. 
51 


206 


207 


208 


209 


210 


The Personal History of David Copperfield. With 
illustrations by H. K. Browne. 20 parts in 19, 8vo, green 
printed wrappers, uncut (three or four plates lightly 
foxed), enclosed in crushed dark green levant morocco so- 
lander case, by Wood. London: Bradbury and Evans, 1850 
First EDITION, IN THE ORIGINAL PARTS. FIRST ISSUE, with the cor- 
rect date on the engraved title. The wrappers are in splendid con- 


dition, and the parts contain the advertisements and the slips. A 
VERY DESIRABLE COPY. 


PROBABLY THE ONLY KNOWN COPY 


Hospital for Sick Children, 49, Great Ormond Street. 
“Drooping Buds;’ from Dickens’s ‘‘Household Words”. 
8vo, sewn, in cloth protecting case. 

London: Printed by R. Folkard, 1852 


JOHN C. ECKEL, IN 1922, WROTE OF THIS HIGH RARITY: “This is not 
‘according to Eckel,’ for the reason that neither he nor any other 
bibliographer ever had seen or heard of a copy with the 1852 date.” 
The article was written by Henry Morley, and the passage on pp. 5-6, 
commencing ‘“O! Baby’s dead” was SUPPLIED BY DICKENS, and, ac- 
cording to Morley’s own admission (Athenaeum, Dec. 14, 1889) 
ADDED MUCH TO THE PUBLICATION. 


— Bleak House. With illustrations by H. K. Browne. 
20 parts in 18, 8vo, blue printed wrappers, uncut (backs 
repaired, name on first wrapper, some with Ackermann’s 
sticker), enclosed in a cloth protective case. 

London, 1852-3 
FIRST EDITION IN THE ORIGINAL PARTS, with the slip in Part IX, and 


the advertisements, which are of higher intrinsic interest than those 
in any other of Dickens’s works in parts. 


—— Little Dorrit. With illustrations by H. K. Browne. 
20 parts in 19, 8vo, blue printed wrappers, uncut (a few 
backs skilfully repaired, name on wrappers of Parts I-VIII). 

London, 1855-7 


FirST EDITION IN THE ORIGINAL PARTS, with the white slip in Part 
XVI, and the advertisements. 


WITH TEN PAGES OF THE ORIGINAL 
MANUSCRIPT 


A Curious Dance Round a Curious Tree. 12mo, inlaid 
to 8vo, crushed green levant morocco, gilt tooled, gilt edges, 
original lavender paper wrappers inlaid to 8vo and bound 
in, by Riviere. [London, 1860] 


FIRST EDITION. THE EXCESSIVELY RARE FIRST ISSUE, with the con- - 
cluding paragraph in light type. Not in the Jupp or the Wilson 
collections. INLAID AND BOUND IN ARE 10 PAGES OF THE ORIGINAL 
MANUSCRIPT, IN DICKENS’S AUTOGRAPH, comprising 217 lines of the 
393 in the printed text, THUS PUTTING AWAY FOREVER THE SUPPOSITION 
THAT THE PAMPHLET WAS THE WORK OF W. H. WILLS. With the 
Borden bookplate. 


[SEE ILLUSTRATION ] 
52 


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CC . [7g 


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eh 05 + riggs a han iz ee wD cS LLRD Sy 

Ad ehh é , ve Myint Ce tly ~ 

) pee pec a Co ef EE 
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Cel agen che tema wecikic Ube ta dim 

9 faa-2f 

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eh ancl ek ng Crover ke Oe, hn 6. Ashgate laa 


: 7A kg ES ee ! 


a ink Gam , payee Me btn oP 0 bet 


Lien aud 607 (ec, age _nerct hg Iwfisted but > 


1 fe ; f OS Le Brg Sct 
Pe eA _#, “*. y we; enstron Ty 
: ; oy, ‘ 


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ie tsed clase Viclner te: 


Goneat whee hee Fete eLe4y ipechitnrs, fnce jee 


ie and IM, ile ae 


tutat, Lemencnt”. 


a 


DICKENS’ ORIGINAL MANUSCRIPT OF 
‘““,’ CURIOUS DANCE ROUND A CURIOUS TRER”’ 


[NUMBER 210] 


211 


212 


213 


WITH TWENTY-ONE ORIGINAL WATER-COLOR 
DRAWINGS BY PAILTHORPE 
& NINE ORIGINAL WATER COLORS BY KYD 


Great Expectations. 38 vols., small 8vo, crushed green 
levant morocco, backs panelled and gilt tooled, sides with 
gilt fillets, inside gilt dentelles, uncut, original purple cloth 
covers and back-strips bound in, by Riviére. 

London: Chapman and Hall, 1861 


THE EXTREMELY RARE FIRST EDITION. EXTRA-ILLUSTRATED BY THE 
INSERTION OF TWENTY-ONE ORIGINAL WATER-COLOR DRAWINGS (EACH 
SIGNED BY PAILTHORPE, after which the famous series of etchings 
for “Great Expectations was made, AND FURTHER EMBELLISHED BY 
TWENTY-NINE ORIGINAL PEN-AND-INK DRAWINGS BY FRAZER, NINE 
ORIGINAL WATER-COLOR CHARACTER DRAWINGS BY KyD, and eight wood- 
engravings, INDIA PAPER PROOFS. With the M. C. D. Borden bookplate. 


Our Mutual Friend. With illustrations by Marcus 
Stone. 20 parts in 19, 8vo, green printed wrappers, uncut 
(backs skilfully repaired), enclosed in a cloth protective 
case. London, 1864-5 


FIRST EDITION IN THE ORIGINAL PARTS, with the advertisements, in- 
cluding the rare one of the “People’s Pickwick” in Part XII. The 
slip explaining the title is present in Part I. A FINE COPY. 


WITH ORIGINAL DRAWINGS 


Our Mutual Friend. With 40 illustrations by Marcus 
Stone. 2 vols., crushed green levant morocco, backs pan- 
elled and gilt tooled, sides with gilt fillets, inside dentelles, 
uncut, by Riviere. London, 1865 


First EDITION, bound up from the original parts, with the wrappers 
and advertisements bound in. EXTRA-ILLUSTRATED BY THE INSERTION 
OF FORTY ORIGINAL DRAWINGS AND INDIA PAPER PROOFS of Stone’s illus- 
trations, two fine steel engravings of Dickens, FIVE EXTRA DRAWINGS 
IN PEN-AND-INK AND PENCIL, inlaid, and an additional series of 15 
illustrations, PROOF IMPRESSIONS ON INDIA PAPER. Among the orig- 
inals of Stone’s illustrations is the ORIGINAL DRAWING FOR THE COVER, 
WITH INDIA PROOF SHOWING ALTERATIONS. With the M. C. D. Borden 
bookplate. 


54 


RARE DICKENS’ BROADSIDE 


214 —— “The Great International Walking-Match of February 


215 


216 


217 


218 


29, 1868.” Printed broadside with gilt border, signed by 
Charles Dickens, George Dolby, James R. Osgood, James 
T. Fields and A. V. S. Anthony. 1934 inches by 1714 
inches, glazed and framed. [ Boston, 1868] 


AN EXCESSIVELY RARE MEMENTO OF DICKENS’S LAST VISIT TO AMER- 
IcA. Articles of agreement between George Dolby, alias ‘‘The Man of 
Ross,” and James R. Osgood, alias “The Boston Bantam,” with “The 
Sporting Narrative” of the match; the whole written by Charles 
Dickens, alias “The Gad’s Hill Gasper.” The two contestants, mem- 
bers of the Dickens party, devised the walking) match as a ‘means to 
revive the great novelist’s failing spirits. It was held at Boston, on 
February 29th, to celebrate the day, in Dickens’s words, “when I can 
say ‘next month for home.’” The victory of the American was com- 
memorated by a dinner given by Dickens to the party, and made 
immortal by the novelist’s description in American sporting narra- 
tive style. 


John Jasper’s Secret: Being a Narrative of Certain 
Events following and explaining “The Mystery of Edwin 
Drood.” [By Henry Morford and his wife, of New York. |] 
With 20 illustrations. 8 parts, 8vo, blue printed wrappers 
(backs slightly chipped), enclosed in a cloth slip case. 

London: Publishing Offices, 1871-2 


FIRST ENGLISH EDITION IN THE ORIGINAL PARTS, with the advertise- 
ments. This “Sequel” to “Edwin Drood” is OF EXCESSIVE RARITY. IT 
WAS WANTING IN THE COGGESHALL, JUPP, AND WILKINS COLLECTIONS. 


THE PRESENT IS A VERY DESIRABLE COPY. 


Charles Dickens and Maria Beadnell: Private Cor- 
respondence. Edited by George P. Baker. Illustrations, 
one in color, and facsimiles, engraved title-page, signed, etc. 
Square 8vo, half Japan Vellum, uncut. 

Boston: The Bibliophile Society, 1908 


FIRST EDITION. One of 493 copies. 


Speech of Charles Dickens, delivered at Gore House, 
Kensington, May 10, 1851. 8vo, wrappers, uncut. 

Boston: Bibliophile Society, 1909 
First EDITION. Privately printed. 


A Collection of Playbills, Clippings, Ballads, etc. relat- 
ing to “Nicholas Nickleby,” “Hard Times,” and “Little 
Dorrit.” About 35 pieces. | 


Including “Little Dorrit’s Polka,” by Jules Norman, with lithographic 
scene of Arthur Clenham and Little Dorrit; “Floating Away,” by 
John Blockley, with lithographic scene of Arthur Clenham at the 
river-side, FINE IMPRESSIONS; AN ORIGINAL DRAWING of Mr. Wm. 
Dorrit, by “Kyd”; Early Playbills of “Hard Times’; Early Play- 
bills of “Nicholas Nickleby,” together with many clippings from con- 
temporary newspapers, advertisements of boys’ schools, etc., illus- 
trative of the latter novel. From the Jupp collection. 


55 


219 


220 


221 


222 


223 


Scenes from the Pickwick Papers, designed and drawn 
on stone by Augustus Dulsken. Four plates with litho- 
graphic design on wrapper. Oblong folio, half crushed 
brown levant morocco, with cardboard sides gilt tooled, 
original wrappers bound in (rehinged throughout). 

London, n.d. 


PROOF IMPRESSIONS. Inserted is a letter from the publishers stating 
that it is their belief that only the present four plates were pub- 
lished. 


WITH MANUSCRIPT OF THE PROLOGUE 
BY DICKENS 


[DICKENS (CHARLES).] Marston (J. Westland). The 
Patrician’s Daughter. A Tragedy, in Five Acts. 8vo, wrap- 


pers, uncut (back missing, wrappers soiled) in cloth slip 
case. London, 1841 


FIRST EDITION. INSERTED IS THE ORIGINAL MANUSCRIPT IN DICKENS’S 
HAND, OF HIS PROLOGUE, 2 pp., 4to. These forty-eight hexameters, re- 
cited by Macready, served to carry the play to success, and this was 
their purpose, for Dickens had a warm interest in both the author 


and the actor. 
[SEE ILLUSTRATION ] 


ORIGINAL PORTRAITS OF DICKENS BY 
CRUIKSHANK AND LEECH 


Original drawing of Cruikshank’s famous portrait of 
Dickens, Aet. 26, signed, 614 inches by 5 inches, together 
with an India proof of Pailthorpe’s etching of the same; 
original crayon portrait of Dickens by John Leech, signed, 
834, inches by 634, inches. Bound in one volume, large 4to, 
cloth. 

Mounted and bound in is an A.L.s. by Samuel Wells, President of 


the Dickens’s Fellowship, relating the history of the Leech portrait 
and the Fellowship’s regret at having been forced to sell it. 


Autograph draft of a Handbill for his Manchester 
Readings, 9 lines on 1 p., 8vo. 


EARLIEST KNOWN DICKENS MANUSCRIPT, 
A TRAVESTY UPON “OTHELLO” 


Original manuscript, 1 p., 4to, inlaid to folio. Being 
the first page of Act I, Scene II, of “O’Thello,” a travesty 
upon Shakespeare’s tragedy. Bound in one folio volume, 
cloth. 


The upper margin of the manuscript bears a signed authentication 
and history of the piece by John Dickens, the father of the writer. 
In 1838, the year in which this manuscript was written, the youthful 
Dickens sought to adopt the stage as his profession. 


56 


ie 


do hele af sheamus gee 

: : ea med anc harnear bupit® 

re Toets mar ole Sou mene 

A hus At of anc ry battles fre 

Roe oe mP atten ys Kk kes Lye; 

hao, LC ey SIN 
wht belooh ward, 


-F 
Metin. Inte, ,wlek Khe churclg RA tephe 


Vn ac Conrerne) ow. Ha J eee 
wel Wicdue calty, oie: 
Oke cH nol pha ate 
of What Shots BL, ancl Wit Hem Befrr. 
Rite Ce Rater, Sale 0 deona, olinp.lar 
fhe apie fadtiw of Ue hatuig clays 
keg Ins od uM Iona n2cnor HeAps 
: ey of beg fe ted dnp &, pacha spruieps g 


Aunts He Presents | : UES IO ape 


FIRST PAGE OF DICKENS’ ORIGINAL MANUSCRIPT 
[NUMBER 220] 


THE ORIGINAL CONTRACT FOR 
“OUR MUTUAL FRIEND” 


224 —— The original agreement between Charles Dickens and 


225 


Edward and Francis Chapman for writing and publishing 
“Our Mutual Friend.” Engrossed on both sides of a folio 
sheet and signed in full ‘‘Charles Dickens,” and by the 
Chapmans. Dated Nov. 21, 1865; A.L.s. by Dickens, 1 p., 
8vo. Second September, 1865. To Mr. Davy, the printer, 
sending the conclusion of “Our Mutual Friend,” requesting 
proof, and giving instructions for the setting of the Preface; 
The Original Front Wrapper of “Our Mutual Friend,” 
No. 1; India Proof Portrait of Dickens. Bound in one vol- 
ume, folio, dark blue straight-grain morocco, gilt tooled, by 
Sangorski and Sutcliffe. 


DICKENS’ TITLE-PAGE DRAFT FOR 
“OLIVER TWIST” 


The original draft of the Title-Page for the First 
Octavo Edition of “Oliver Twist,” in Dickens’ autograph, 
1 p., 8vo; autograph description of the Woodcuts Dickens 
desired Cruikshank to etch for the wrappers, 1 p., 8vo; 
original pencil sketch, signed by Cruikshank, “Oliver asks 
for More,” 134, inches by 6 inches; original wash sketch, 
initialed by Cruikshank, “The Recovery of Nancy,” 7 inches 
by 414, inches; A.L.s. by Dickens, 2 pp., 8vo, dated, Kent, 
October fifteenth, concerning a proposed statue of Oliver 
Twist. Mounted and bound in one volume, 4to, crushed red 
levant morocco, back panelled and gilt tooled, sides with 
au eee inside dentelles, gilt edges, by Sangorski and 
utcliffe. 


[SEE ILLUSTRATION ] 
58 


oe 


Vth ted 4 
Very. Cuts hah 
Vets led ancl civeee tech 


a Le couple te) ud Love hunte/, 


Drelay wm) hana} [Bois sega - 


VA Atha i PS a POIS. 


TITLE-PAGE IN DICKENS’ HANDWRITING 
[NUMBER 225 | 


226 


227 


ORIGINAL MANUSCRIPT WHICH DICKENS 
PRESENTED TO HIS COLLABORATOR 
WILKIE COLLINS 


DICKENS (CHARLES) AND COLLINS (WILKIE). The 
original manuscript of “The Perils of Certain English Pris- 
oners and their Treasures in Women, Children, Silver, and 
Jewels.” Chapters I and III are in the handwriting of 
Charles Dickens; Chapter II in that of Wilkie Collins. The 
Dickens portion, 51 leaves, 8vo, is inlaid to 4to, as is the 
39-p. Manuscript of Wilkie Collins; the whole forming 90 
pp., with title and table of contents. Bound in one volume, 
Ato, crushed olive levant morocco, back panelled and gilt 
tooled, sides with fillet borders, insides gilt dentelles, by 
Riviere, (for Charles Dickens). 


BOUND IN IS THE TITLE-PAGE, IN DICKENS’S AUTOGRAPH, with a note 
at the bottom in the hand of Wilkie Collins; SEVEN PAGES OF AUTO- 
GRAPH NOTES BY DICKENS for the Christmas Number of “Household 
Words,” in which this story first appeared; and an A.L.s. by Collins 
i De: and one by Dickens to Collins. With the Borden book- 
plate. 

[SEE ILLUSTRATION ] 


Original Page Proofs of pp. 161-208 of the Cheap Edi- 
tion of the “Christmas Books.” Unbound, small 8vo 
(slightly soiled), enclosed in a crushed green levant mo- 
rocco solander case, gilt tooled with floral sprays at corners. 


THERE ARE NUMEROUS TYPOGRAPHICAL CORRECTIONS IN DICKENS’S 
HAND, AND RUNNING-HEADS FOR THE ODD PAGES, WRITTEN OUT BY 
DICKENS. The running-head on the even pages is the title of the 
story; for the odd pages Dickens himself used brief phrases charac- 
terizing the happenings detailed on the page. These, of course, 
could not be decided upon until Dickens saw page-proofs, and they 
thus constitute ORIGINAL MANUSCRIPT MATERIAL. 


60 


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D®Be on ae ae 


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A? — Ve en DOK &ths 


nt € oe Ore fet. aw ct wins Sem ohn 


horsey oo ae Oe, 


pret on of “A Piaf duet, 
“2 Vem cess A faroer jas CEL Pham oe €, 


of om fom Chris Amar work, Jf 


buh as 
ts fr lope ter fn ike Co BGO RSH, Sires es 


ie Hn, ee. ey oop, firnte b Dn chia 


Na AREF ban 


y aitecnreds te 


LETTER OF DICKENS’ IN WHICH HE PRESENTS 

THE MANUSCRIPT OF “‘THE PERILS OF CERTAIN 

ENGLISH PRISONERS” 51 LEAVES BY HIMSELF AND 

39 PAGES BY WILKIE COLLINS, WHICH HE HAS HAD BOUND, TO 
HIS COLLABORATOR 


[NUMBER 226] 


228 


229 


Two autographed Articles of Agreement, relative to 
the famous publication, ‘‘All the Year Round,” of which 
Charles Dickens was the editor. With two portraits of 
Dickens, one a signed etched proof by F. Johnson, also 
portrait of Wills. Manuscripts and portraits bound to- 
gether in one volume, folio, full red morocco, inside borders, 
gilt top, uncut, enclosed in silk protective case. 

London, 1859-1870 


CONTENTS: 


(1) Articles of Agreement, August, 1859, between CHARLES DICKENS 
and WILLIAM HENRY WILLS for the partnership in “All the Year 
Round.” Dickens to have three-fourths, and Wills one-fourth share, 
as joint proprietors, the former acting as Editor and the latter as 
General Manager of the paper. All the conditions are fully set forth 
in thirteen clauses. 

SIGNED AND SEALED BY EACH in the presence of Frederic Ouvry, 
Dickens’s friend and solicitor. 

Six pp. folio, with docket on p. 8; an erasure in clause 2, initialed by 
both signatories. 

(2) Articles of Agreement, second day of May, 1870, between CHARLES 
DICKENS THE ELDER, WILLIAM HENRY WILLS, and CHARLES DICKENS 
the younger. 

SIGNED AND SEALED BY ALL THREE, in the presence of Frederic Ouvry, 
Solicitor. 

Seven pp. folio, with docket on p. 8. 

These documents are of very singular biographical interest as con- 
nected with the great novelist; showing his shrewd business habits in 
the conditions of the two agreements. 


THE LATER AGREEMENT DERIVES AN ADDITIONAL INTEREST FROM THE 
PROBABILITY OF ITS BEING THE LAST IMPORTANT ACT IN DICKENS’S 
LIFE. SIX WEEKS AFTER HIS SIGNATURE WAS APPENDED THERETO, HE 
WAS DEAD. 


DICKENS’ MONODY ON MARY HOGARTH 


A.l.s., 5 pp., 8vo. Doughty Street, Thursday Night 
[Oct. 26, 1837]. To Mrs. Hogarth, Dickens’s mother-in- 
law, relating entirely to the death of Mary Hogarth, to 
whom Dickens had been betrothed before his marriage to 
her sister Catherine. (Some folds torn, some repaired.) 


After thanking Mrs. Hogarth for a memento of Mary, he adds: “J 
have never had her ring off my finger by day or night, except for an 
instant at a time to wash my hands, since she died. I have never had 
her sweetness and excellence absent from my mind so long... It 
will be a great relief to my heart when I find you sufficiently calm 
upon this sad subject to claim the promise I made you when she lay 
dead in this house, never to shrink from speaking of her... but 
rather to take a melancholy pleasure in recalling the time when we 
were all so happy—so happy that increase of fame and prosperity has 
only widened the gap in my affections by causing me to think how she 
would have shared and enhanced all our joys, and how proud I should 
have been (as God knows I always was) to possess the affection of the 
gentlest and purest creature that ever shed a light on earth . ; 
You and I will probably be oftener alone in Kate’s coming confinement, 
which will be a truly heavy time to me, reminding me how we spent 
the last. I see Now that you are capable of making great efforts 

. and I hope that our words may be where our thoughts are, and 
that we may call up these old memories,—not as shadows of the bitter 
past, but as lights upon a happier future.” 


62 


MENTIONING THE DEATH OF MARY HOGARTH 


230 —— A.L.s., 8 pp., 4to. London, Thursday, December 21st, 


251 


232 


233 


1837 To Wm. Howison of Edinburgh. Preserved in cloth 
protective case. (The letter has been repaired in folds.) 


LONG AND FINE LETTER in reply to the announcement of the formation 
of the “Edinburgh Pickwick Club.” ‘TJ believe with you that this is 
the first society of the kind, established north of the Tweed . : 
Mr. Pickwick’s heart is among you always . . . Many of my dearest 
living friends are natives of your fine city, and my most cherished 
recollections are of a dearly loved friend and companion who drew her 
first breath in Edinburgh and diced beside me .. .” 


REGARDING AN ILLUSTRATION FOR 
“BARNABY RUDGE” 


A.lL.s., 2 pp., 8vo. Devonshire Terrace, Tuesday ninth 
February, [1841]. To George Cattermole. 


Requesting the artist to etch the locksmith’s house, for No. 49 of 
“Master Humphrey’s Clock,” and suggesting the desired effect. The 
illustration appeared, however, in No. 54, illustrating “Barnaby 
Rudge.” 


A.L.s., 1 p., 4to. Tremont House, [Boston,] Saturday 
night, January 22nd, 1842. To J. C. Grattan, declining 
an invitation to dine. With address-leaf and seal. 


He must dine tomorrow with Lord Mulgrave, etc. He mentions the 
“fatigues and perils of a most tempestuous passage.’ Dickens had 
arrived in Boston, the preceding evening. 


A.l.s., 6 pp., 8vo. Devonshire Terrace, Nineteenth 
March, 1844. To Mr. Sergeant Talfourd. 


A VERY FINE AND LENGHTY LETTER. He encloses a clipping from the 
the ‘Morning Chronicle,’ written by Mr. Charles McKay, “ ‘poet’ and 
sub-editorial, paste-and-scissors-orial craftsman”; he tells of his meet- 
ing with Mr. McKay and criticises the project of erecting statues in 
Edinburgh to Scott and Burns; the news of various legal matters is 
detailed; he gives a vivid description of his melodramatic dismissal of 
Strange’s envoy; Strange and his piracy shall be put down; he tells 
of his plans for a book [“The Chimes”(?)] he has a novel idea for 
the last few pages, ete. 


63 


234 


235 


236 


237 


238 


THE WRITING OF “DAVID COPPERFIELD” 


A.L.s. (initials), 4 pp., 8vo. Devonshire Terrace, 
Twenty-first July, 1849. To the Hon. Richard Watson. 
With addressed envelope, franking signature, etc. 


6é 


. -There is nothing I shculd like better than to go with you to 
Switzerland . . . but after considering the feasibility of this delight- 
ful journey .. . I became afraid, in this stage of my story [“David 
Copperfield” ], of so entirely departing from my inventive habits .. . 
If it is only half an hour’s sitting alone in a morning, in my leisure 
part of the month, and half an hour’s look at pen, ink, and paper, it 
seems to keep me in the train. And with so much before me, and the 
necessity always present to me of doing my best and sustaining my 
reputation at its highest point, I feel it better and wiser to keep near 
my oar .. .” A LENGHTY AND VERY FINE LETTER. 


A.L.s. (initials), 1 p., 8vo. Broadstairs, Nineteenth 
September, 1850. To Maclise, inviting him to accompany 
Dickens on a visit to the Insane Asylum at Highgate. 


A.l.s., 3 pp., 8vo. Devonshire Terrace, Tuesday, 
March eleventh, 1851. To Dr. Wilson. 


“ . . . Tam so anxious thut Mrs. Dickens should begin with a favor- 
able impression of Malvern, ond I am so certain of the impossibility 
of engendering that impression if she be on any visit or in any house 
but our own (from what I have lately observed when we have been 
staying in the country houses even of intimate friends) that I am 
obliged, however reluctantly, to decline your hospitable proposal. . .” 


— A.L.s., 2 pp., 8vo. Tavistock House, Twentieth July, 
1854. To J. B. Buckstone. 


“I have been working hard i a French country house . . . Crossing 
over... I brought your Spanish Dancers with me—whose com- 
plexions then looked like old cheeses, from sea-sickness . . .” 


REFERRING TO “LITTLE DORRIT” 
AND THE PLAYS 


A.L.s. (initials), 4 pp., 8vo. Tavistock House, Tuesday, 
Seventh October, 1856. To the Hon. Mrs. Watson. 


AN UNUSUALLY FINE AND LENGHTY DICKENS LETTER, FOUR CLOSELY 
WRITTEN PAGES OF PERSONAL AND INTIMATE GOSSIP. He refers to 
“Little Dorrit,” protesting that passages in it were written for her, 
as she had surmised, he took aim with most deliberate intention; he 
congratulates her upon domestic happiness; he has been working hard 
—too hard; he begs her to came to see Wilkie Collins’s new plays, 
“The Frozen Deep” and ‘The Lighthouse,” they are to be produced at 
Tavistock around Christmas; the house is in a high state of excitement, 
the school-room being turned into a theatre; he reports on the health 
of his children; Mrs. Watson will no doubt think him dreadful with a 
beard; but if she will come and see the play she will find it necessary 
and perhaps be more tolerant of the fearful object afterwards; “this 
is every atom of no-news that will come out of my head, and I firmly 
believe it is all I have in it—except . . .” and here follows the 
pathetic story of the cobbler and his dog, at Boulogne. A SPLENDID 
LETTER. [Letters of Charles Dickens, London, 1880, Vol. I, pp. 453-6.] 


64 


239 


240) 


241 


242 


243 


244 


245 


A.L. in third person, 2 pp., 8vo. Devonshire Terrace, 
Thirteenth March, 1857. To Mr. Booth, containing an offer 
to purchase Balmoral House, making appointment to go over 
house with an architect, etc. With the addressed envelope. 


A.lus., “C. D.,’? 1 p., 8vo. Leamington, Thursday 
Morning, Second January, 1862. To Georgina Hogarth. 
With addressed envelope. 


Alterations have been made at Gad’s Hill, and Dickens writes of ways 
and means to prevent the children’s keeping off the paint and out of 
the way. 


REFERRING TO THE RAILWAY ACCIDENT 


—— A.L.s., 2 pp., 8vo. Gad’s Hill Place, Twelfth June, 
1865. To the Head Station Master, Charing Cross. 


Requesting the Station Master to recover, if possible, valuables lost 
by a lady in the terrible railway accident on June 9th. In order to 
make their location clear he describes the accident in some detail, and 
concludes: “I would have spoken to you instead of writing, but that 
I am shaken;—not by the beating of the carriage, but by the) work 
afterwards of getting out of the dying and the dead.” 


A.lL.s., 2 pp., 8vo. Devonshire Terrace, Fourth Sep- 
tember, 1865. To Wm. Hazlitt, regarding a young man 
whom it was their mutual desire to assist. 


A.D. signed with Dickens’s name in another hand, 1 p., 
Ato. 26 Wellington Street, London, twentieth of October. 
1865. 


Resolution passed at a meeting of the Guild of Literature and Art, 
thanking the architect of the Guild houses. Dickens was chairman of 
the Council. 


A.L.s., 2 pp., small 4to. Office of All the Year Round, 
Saturday, First May, 1869. [To Georgina Hogarth. ] 


A, FINE PERSONAL LETTER, enclosing a key to the drawer of his large 
writing table. He requests her to bring him a banker’s pass-book to 
be found therein; also a blue surtout with black facings; he inquires 
after Mamie’s health, etc. 


A.lL.s., 2 pp., 8vo. Gad’s Hill Place, Sunday, Fifth Sep- 
tember, 1869. To Mrs. Church. 


Letter of thanks upon the receipt of her book, dedicated to Dickens, 
condolence for errors passed in proof, concluding with a post-script: 
“Do not allow yourself to be drawn into discussions with writers of 
notices.” IN FINE CONDITION. 


65 


246 


247 


248 


249 


250 


ON THE FAILURE OF “THE LAMPLIGHTER” 


A.l.s., 3 pp., 8vo. Doughty Street, Saturday Morning, 
no year. To J. P. Harley. 


“T am afraid from not having seen you since the Lamplighter was 
suffocated, that you may suppose I have some feeling of annoyance on 
the subject. If you have any notion of the kind, rest assured that 1 
am quite satisfied with the opinions of those who must know so much 
better than myself what would take upon the stage—and that if a 
good subject occurred to me, I would write another farce to- 
morrow...” 


A.L.s., 2 pp., 8vo. 48 Doughty Street, Monday Morn- 
ing, no year. To E. I. Stanley, in gratification for his re- 
membrance of Dickens’s brother. 


A FINE PERSONAL LETTER. 


A.L.s., 1 p., 8vo. Furnival’s Inn, Thursday Evening, 
no year. With seal. 


To one in want of employment, referring him to John Dickens, and to 
Charles Ross at the Times Office. 


DICKENS ILLUSTRATIONS. A Series of 20 Pickwickian 
illustrations by Heath. 8vo, stiff wrappers with paper label 
on front, cloth back, enclosed green morocco solander case, 
gilt tooled. [London, 1837] 


A Series of 24 etched plates by George Cruikshank, to 
illustrate “Oliver Twist.” London: Richard Bentley, 1837-8 


Containing the plate: ‘Rose Maylie and Oliver.” 
66 


251 


UNPUBLISHED DRAWINGS BY “PHIZ” 
FOR DICKENS’S WORKS 


A Collection of Twenty-one Unpublished Original 
Drawings of Characters in the Works of Charles Dickens. 
With an A.L.s. by the artist, 2 pp., 8vo, Notting Hill, dated 
April 20, [1867], to F. W. Cozens (the former owner of the 
drawings), acknowledging cheque and giving receipt for a 
sum in exchange for sixty-one drawings (one of which is in 
the present collection). The drawings are finely mounted, 
and enclosed in a quarto size crimson levant morocco box, 
gilt tooled and lined with silk. 

A SUPERB COLLECTION, DESCRIBED IN DETAIL BELOW. ALL THE DRAW- 
INGS ARE HIGHLY FINISHED AND REPLETE WITH THE QUALITIES WHICH 


HAVE LINKED INSEPARABLY THE NAMES OF THE NOVELIST AND HIS 
GREAT ILLUSTRATOR. 


HuGH in “Barnaby Rudge.” Pencil drawing in black and red. 4% 
inches by 38 inches. 

MIss QUILP and BARBARY in “The Old Curiosity Shop.” Pencil draw- 
ing. 38% inches by 2% inches. 

SAM WELLER in “Pickwick.” Pencil drawing. 2 inches by 1% inches. 
SAM WELLER in “Pickwick.” Pencil drawing on tinted ground. 1% 
inches by 1 inch. 

THE TURNKEY in “Pickwick.” Pencil drawing. 1%4 inches by 1 inch. 
MIVENS in “Pickwick.” Pencil drawing on tinted ground. 2% inches 
by 1% inches. 

THE TURNKEY in “Pickwick.” Pencil drawing on tinted ground. 2% 


- inches by 2 inches. 


OUT AND OUT YOUNG GENTLEMEN in “Sketches of Young Gentlemen.” 
Pencil drawing. 7 inches by 6% inches. 

BARNABY RUDGE in “Master Humphrey’s Clock.” Pencil drawing. 1% 
inches by 1% inches. 

THE DEAF GENTLEMAN in “Master Humphrey’s Clock. Pencil drawing. 
1% inches by 1% inches. 

THE SCHOOL-MASTER in “Master Humphrey’s Clock.” Pencil drawing. 
2 inches by 1% inches. 

LITTLE NELL in “Master Humphrey’s Clock.” Two pencil drawings, 
on one sheet. 5% inches by 2% inches. 

Miss HAREDALE in “Master Humphrey’s Clock.” Wash drawing. 2 
inches by 1% inches. 

Miss HAREDALE AND LITTLE NELL in “Master Humphrey’s Clock.” 
Pencil drawing. 38 inches by 3% inches. 

Miss KENwIG in “Nicholas Nickleby.” Pencil drawing. 2 inches by 
1% inches. 

ee ieee in “Nicholas Nickleby.” Pencil drawing. 2 inches by 1% 
inches. 

THE KENWIGS in “Nicholas Nickleby.” Pencil drawing. 2% inches 
by 4% inches. 

LITTLE NELL in “Master Humphrey’s Clock.” Pencil drawing. Cir- 
cular, 2 inches in diameter. 

Miss HAREDALE in ‘Master Humphrey’s Clock.” Pencil drawing. 4%4 
inches by 3% inches. 

Str MULBERRY HAWK in “Nicholas Nickleby.” Pencil drawing. 2% 
inches by 1% inches. 

Mr. SQUEERS in “Nicholas Nickleby.” Pencil drawing. 2 inches by 
2 inches. 


67 


252 Six hundred and forty-eight original illustrations in 
colors, of Characters in the Works of Charles Dickens, by 
“Kyd” [J. Clayton Clark.] Laid in 25 cloth slip cases, 4to, 


with leather back-strips, appropriately lettered. 


A SUPERB COLLECTION. Includes illustrations to “Hard Times,” “The 
Old Curiosity Shop,” “Barnaby Rudge,” “American Notes,” ‘Martin 
Chuzzlewit,” “Christmas Books,” ‘‘Dombey and Son,” “David Copper- 
field,” “Little Dorrit,” “No Thoroughfare,” ‘Edwin Drood,” ‘Miscel- 
laneous Pieces,” ‘Sketches by Boz,” ‘“‘Tale of Two Cities,” “Our Mutual 
Friend,” “Great Expectations,” “Bleak House,” “Nicholas Nickleby,” 
“Pickwick Papers,” and “The Uncommercial Traveller.” 


25D Complete set of India proofs of Cruikshank’s Illustra- 
tions to “Sketches by Boz.” 28 plates. Bound in one volume, 
8vo, crushed green levant morocco, tooled with gilt fillets, 
doublures and fly-leaves of red silk, by Zaehnsdorf, enclosed 


in cloth protective case. N.p., n.d. 


A CHOICE SET. 


254 [THACKERAY (WM. M.).] Mr. Thackeray, Mr. Yates, and 
the Garrick Club. The Correspondence and Facts. Stated 
by Edmund Yates. 8vo, sewn, enclosed in half brown 
morocco slip case. Printed for Private Circulation, 1859 


THE EXCESSIVELY RARE FIRST ISSUE OF THE FIRst EDITION, with 
Dickens’s name mispelled on p. 14, the 15th line from the bottom. In 
the Second Issue this error was corrected. Mr. Van Duzer states that 
there was a third issue, in which the error was restored and which 
can be detected by the watermarks in the paper. THE PAPER OF THE 
PRESENT COPY IS WITHOUT WATERMARKS. 


ORIGINAL DRAWINGS FOR THE WORKS 
OF CHARLES DICKENS, RARE ISSUES OF 
TENNYSON, ETC., ETC. 

THE PROPERTY OF 
AN ENGLISH BARONET 


NUMBERS 255-295 


255 CRABBE (GEORGE). Original autograph verses, 4 pp., 
8vo, dated Dec. 31, 1813 to Aug. 10, 1817. Comprising, in 
all, about 190 lines. 


256 DE QUINCEY (THOMAS). Original proof of 3 pp. of ‘““Mod- 
ern Superstition,” with numerous corrections and additions 
in De Quincey’s autograph. With portrait. 


68 


257 DE QUINCEY (THOMAS). Original proof of 3 pp. of the 


208 


259 


260 


261 


essay “On War,” one page of which bears extensive altera- 
tions and additions in De Quincey’s autograph. 12mo. 


ORIGINAL DRAWINGS 
BY CRUIKSHANK, “PHIZ,” SEYMOUR, LEECH, 
AND CATTERMOLE FOR 
“SKETCHES BY BOZ,” “THE PICKWICK PAPERS,” 
“A CHRISTMAS CAROL,” “OLIVER TWIST” 
“MARTIN CHUZZLEWIT,” AND 
“THE OLD CURIOSITY SHOP” 


NUMBERS 258-282 


DICKENS (CHARLES). Original pencil drawing by George 
Cruikshank, for ‘Sketches by Boz,” ‘Horatio Sparkins.’ 7 
inches by 414 inches. 


Mutual astonishment of the Maldertons and Mr. Smith, in the draper’s 
shop in Tottenham Court Road. IN THE UPPER MARGIN THE ARTIST 
HAS WRITTEN “Sketches by Boz,’ AND IN THE LOWER MARGIN HE HAS 
SIGNED HIS NAME. 


Original pencil drawing by George Cruikshank, for 
“Sketches by Boz,” ‘The Oyster Shop.’ 7 inches by 414 
inches. 


A characteristic sketch showing the infatuated widower taking an 
oyster from the hands of the fascinating creature in blue. 


Original pencil drawing by George Cruikshank for 
“Sketches by Boz,’ ‘May Day in the evening.’ 7 inches by 
414 inches. 


“Jack in the Green. My Lord drunk quarreling with his ‘muddy’ lady. 
The clown melancholy.” 


Original wash drawing by Robert Seymour, for “Pick- 
wick Papers,” ‘Mr. Pickwick in chase of his hat.’ 5 inches 
by 4 inches. 


Differing from the published plate only in the lesser detail with which 
the occupants of the barouche and the other spectators are treated. 


69 


262 


264 


265 


266 


Original wash drawing by Robert Seymour for ‘“Pick- 
wick Papers,” ‘Mr. Winkle soothes the refractory stud.’ 
5 inches by 4 inches. 


Identical with the published plate, save that in the latter, trees have 
been introduced on the left side. Kitton states that the position of the 
horse’s forelegs is reversed in the plate; this is not true of the present 
drawing, which represents the horse in the same posture as in the 
published version, THUS THE DRAWING SEEN BY KITTON MUST HAVE 
BEEN A PRELIMINARY SKETCH, AND THE PRESENT ONE THAT FROM 
WHICH THE PLATE WAS ETCHED. 


Original wash drawing by Robert Seymour, for “Pick- 
wick Papers,” ‘The Dying Clown.’ 414 inches by 4 inches. 


THIS IS THE DRAWING WHICH, WHEN SUBMITTED TO DICKENS, SUG- 
GESTED THE CRITICISMS CONVEYED IN DICKENS’S ONLY KNOW LETTER 
TO HIS ILL-FATED ILLUSTRATOR. AFTER REDESIGNING THE PLATE, IN 
COMPLIANCE WITH DICKENS’S SUGGESTIONS, SEYMOUR COMMITTED 
SUICIDE. The present drawing is identical with the published plate, 
save in the details Dickens desired modified. It was upon this, the 
illustration for “The Stroller’s Tale,” that Seymour was engaged, in 
Dickens’s words, “up to a late hour of the night preceding his death.” 


[SEE ILLUSTRATION | 


Original wash drawing by Hablot K. Browne for “Pick- 
wick Papers,” ‘First appearance of Sam Weller.’ 6 inches 
by 414 inches. 


THE ORIGINAL EMBODIMENT OF SAM WELLER. Identical with the pub- 
lished plate save that no watch-chain dangles from the lawyer’s 
waistcoat; the unpleasant mongrel barking at Mr. Pickwick’s heels 
is, in the original drawings, a playful black-and-tan. 


— Original tinted drawing by Hablot K. Browne, for 
“Pickwick Papers,” ‘Mr. Bardell faints in Pickwick’s arms.’ 
5 inches by 414 inches. 

Master Bardell’s head is down, as in the First State of the plate, 


although he kicks Mr. Pickwick rather more effectively. The orna- 
ments on the shelf differ slightly from either of the etched versions. 


Original wash drawing by Hablot K. Brown, for ‘“Pick- 
wick Papers,” ‘Mrs. Leo Hunter’s fancy-dress déjeuner.’ 
714 inches by 6 inches. 


IN THE MARGIN IS THE FOLLOWING NOTE IN THE AUTOGRAPH OF 
CHARLES DICKENS: “J think it would be better, if Pickwick had hold 
of the Bandit’s arm. If, Minerva tried to look a little younger (more 
like Mrs. Pott, who is perfect) I think it would be an additional 
improvement.” This drawing differs materially from the published 
version: in the latter, although Mrs. Leo Hunter can hardly with 
truth be said to have “tried,” even, to look a little younger, she has, 
nevertheless, lost many pounds of flesh, and gained considerably in 
stature. 
[ SEE FRONTISPIECE ] 


70 


“THE DYING CLOWN” 
ORIGINAL WASH DRAWING BY ROBERT SEYMOUR 
FOR “THE PICKWICK PAPERS” 
THE LAST DRAWING HE MADE 
BEFORE COMMITTING SUICIDE 


[NUMBER 263] 


267 


268 


269 


270 


271 


Original wash drawing by Hablot K. Browne for ‘“Pick- 
wick papers,’ “The Unexpected breaking up of the Semi- 
nary for Young Ladies.’ 6 inches by 434 inches. 


In the published plate there is some slight difference in the trees, etc. 
framing the terrified Pickwick and the ladies. It is of high interest 
to note that this, the original drawing, shows the door WITHOUT THE 


BELL; the presence of the bell is said by Eckel to indicate the First 
Issue. 


Original wash drawing by Hablot K. Browne, for “Pick- 
wick Papers,” “The skating party.’ 7 inches by 5!/ inches. 


Arabella’s feet are placed as in the First State of the published plate; 
the dog is lightly drawn in pencil. 


Original wash drawing by Hablot K. Browne, for ‘‘Pick- 
wick Papers,’ ‘The first interview with Mr. Sergeant 
Snubbin.’ 614 inches by 5 inches. 


IN THE MARGIN IS THE FOLLOWING NOTE IN THE AUTOGRAPH OF 
CHARLES DICKENS: “J think the Sergeant should look younger, and 
a great deal more sly, and knowing—he should be looking at Pickwick 
too, smiling compassionately at his innocence. The other fellows are 
noble—C. D.” “Phiz’ has redrawn the Sergeant’s head in com- 
pliance with Dickens’s request. 


Original wash drawings by Hablot K. Browne, for 
“Pickwick Papers,” ‘The trial of Bardell vs. Pickwick.’ 
7 inches by 514 inches. . 


Mrs. Bardell and her supporters are, as in the published version, as 
are the barristers, with the exception of Sergeant Buzfuz. Pickwick 
and Mr. Perker are separated by a greater distance than in the 
published plate, and Mr. Pickwick’s hat rests beside him on the 
bench as in the First State of the plate. 


ORIGINAL WASH DRAWING BY PHIZ 
WITH CRITICISM IN DICKENS’ WRITING 


Original wash drawing by Hablot K. Browne, for “Pick- 
wick Papers,” ‘Mr. Winkle’s situation when the door blew 
to.’ 814 inches by 6 inches. ; 


IN THE MARGIN IS THE FOLLOWING NOTE IN THE AUTOGRAPH OF 
CHARLES DICKENS: “Winkle should be holding the candlestick above 
his head I think. It looks more comical, the light having gone out. 
A fat chairman so short as our friend here never drew breath in 
bath. Would leave him where he is, decidedly. Is the lady full|y] 
dressed? She ought to be. C. D.” Upon comparing this drawing 
with the published plate, it is evident that the first suggestion has 
been acted upon; the lady, too, is, in the latter, a little more com- 
pletely dressed; but ‘“‘Phiz” lessened not a whit the Chairman’s short- 
ness or obesity: this exception, perhaps, proves the rule that Dickens’s 
wish, in matters of illustration, always prevailed. The two poles 
are not in line, as they are in the accepted First State of the plate, 
buy the shadow and the hat are distinct, with white space between 
them. 


72 


272 


273 


274 


275 


276 


Original wash drawing by Hablot K. Browne, for ‘“‘Pick- 
wick Papers,’ ‘The Warden’s Room.’ 6 inches by 414 
inches. 


The figure of “the Zephyr” has been touched in with white. There is 
no loop at the end of the clothes-line. 


Original wash drawing by Hablot K. Browne, for “Pick- 
wick Papers,” ‘Mr. Winkle returns under extraordinary 
circumstances.’ 7 inches by 51,4, inches. 


IN THE MARGIN IS A NOTE IN THE AUTOGRAPH OF CHARLES DICKENS. 
Unfortunately, the margin has been trimmed down removing the 
end-words of Dickens’s lines, and rendering them in their entirety 
unintelligible. The dishes on the closet shelves differ in arrangement 
from either of the published plates. 


Original wash drawing by Hablot K. Browne, for ‘‘Pick- 
wick Papers,” ‘The ghostly passengers in the ghost of a 
mail.’ 7 inches by 5 inches. 
te DICKENS’S HUMOROUS SIGNATURE IN THE MARGIN: “Charles 
Us , 
xX : Dickens.” The drawing is identical with the published plate. 
Mar 
The hamper is uncorded as in the First State of the plate. 


Original wash drawing by Hablot K. Browne, for “Pick- 
wick Papers,” Frontispiece. 8 inches by 5 inches. 


“PHIZ’S” ORIGINAL DRAWING FOR THE FRONTISPIECE TO “PICKWICK.” 
The footstool has three stripes; in the First State of the etching it 
has four and these increase in the Second State to six. 


Original pencil and sepia drawing by George Cruik- 
shank, for “Oliver Twist,” ‘The evidence destroyed.’ 
9 inches by 6 inches. 


Monks is addressing: Bumble and his wife after throwing the papers 
down the well, to which he points. In the margins are two small 
sketches, also tinted with sepia. A SPLENDID EXAMPLE OF THE PRE- 
LIMINARY DRAWINGS ALMOST INVARIABLY EXECUTED BY CRUIKSHANK. 
The present drawing was in the artist’s collection. 


73 


277 —— Original pencil and water-color drawing by John Leech 


278 


279 


280 


281 


282 


283 


for “A Christmas Carol,” ‘Scrooge’s Third Visitor.’ 534 
inches by 314, inches. 

ONE OF THE FINEST OF LEECH’S FOUR EXQUISITE COLORED DESIGNS FOR 
THE FAMOUS LITTLE PIONEER AMONG CHRISTMAS BOOKS. ‘“‘A Christmas 


Carol” was the first of Dickens’s works illustrated by Leech, and the 
only one illustrated exclusively by him. 


[SEE ILLUSTRATION | 


Original pencil drawing by John Leech, for ‘“‘A Christ- 
mas Carol,’ ‘Mr. Fezziwig’s Ball.’ 514 inches by 4% 
inches. (A tear in the drawing has been repaired.) 


This charming little drawing shows no difference from the published 
plate. 


Original wash drawing by Hablot K. Browne, for 
“Martin Chuzzlewit,”’ ‘Mr. Pecksniff announces himself as 
the shield of Virtue.’ 7 inches by 414 inches. Matted with 
the etching. 


Original wash drawing: by Hablot K. Browne, for 
“Martin Chuzzlewit,” ‘Mrs. Gamp makes tea.’ 7 inches by 
41% inches. Matted with the etching. 


Original pencil drawing by Hablot K. Browne, for 
“Martin Chuzzlewit,” ‘Mrs. Gamp proposes a toast.’ 7 inches 
by 414 inches. Matted with the etching. 


Original water-color painting by George Cattermole 
for ‘The Old Curiosity Shop,” ‘Little Nell reading the Bible 
in the old baronial chapel.’ 914 inches by 13 inches. Signed. 


The great novelist was deeply pleased with Cattermole’s designs; the 
artist’s representation of the old church in the village where Little 
Nell died was considered especially effective. This quaint building 
actually exists at Tong, in Shropshire, and was a favorite with both 
Cattermole and Dickens. 


Lithographed portrait of Dickens by Sol. Ee Tt 
inches by 9 inches. 


Above the facsimile signature, DICKENS HAS WRITTEN IN BLUE INK: 
“And so, as Tiny Tim observed, God bless us every one!’—the con- 
clusion of “A Christmas Carol.” This portrait was executed by the 
artist during Dickens’s last visit to Ameriea, the lithographic repro- 
duction, issued by Ticknor and Fields in 1868. -It is now seldom to 
be met with, according to Frederic G. Kitton. THE PRESENT COPY, 
INSCRIBED BY DICKENS, WAS REPRODUCED FOR THE FRONTISPIECE TO 
KITTON’s “Dickens and His Illustrators,” London, 1899, 4to. 


74 


““SCROOGE’S THIRD VISITOR” 
ORIGINAL PENCIL & WATER-COLOR BY JOHN LEECH 
FOR “A CHRISTMAS CAROL” 


[NUMBER 277] 


284 


285 


286 


287 


UNIQUE COPY OF “THE TRAVELLER” 


GOLDSMITH (OLIVER). The Traveller, or, A Prospect of 
Society. A Poem. Inscribed to the Rev. Henry Goldsmith. 
4to, crushed red levant morocco, gilt fillets, inside dentelles, 
gilt edges, by Riviere (contemporary writing on title, and 
pp. 10 and 21, inner margins of title and first few leaves 
skilfully repaired). 

London: Printed for J. Newbery, 1764 


A UNIQUE EXAMPLE OF THE GENUINE FIRST EDITION, OF WHICH BUT 
TWO COPIES ARE KNOWN, the Locker-Lampson Copy, in which the 
dedication is seven lines in length, AND THE PRESENT COPY, in which 
the dedication occupies four pages. IT IS GENERALLY THOUGHT THAT 
NO COPIES OF THIS 1764 ISSUE WERE ACTUALLY PUBLISHED. THE 
PRESENT EXAMPLE IS THE FIRST TO OCCUR FOR SALE IN AMERICA. 


[SEE ILLUSTRATION ] 


HOGG (JAMES). Original manuscript verses: “The Queen 
of France and James IVth,” 3 stanzas of 8 lines each; 
A.L.s., 1 p., 4to. ‘Aug. 8, 1824; fo his *daushterwe 
3 pieces. 


FINE SPECIMENS of the autograph of the Ettrick Shepherd. 


[SHELLEY (MARY W.).] Frankenstein; or, A Modern 
Prometheus. 3 vols. in one, contemporary half calf (rub- 
bed, name on title of Vol. I). London, 1818 


FIRST EDITION, with the half-titles to Vols. II & III. 


SOUTHEY (ROBERT). Joan of Arc, an Epic Poem. 4to, 
contemporary half calf (rubbed). Bristol, 1796 


First EDITION. Inserted is an A.L.s. by Robert Southey, 2 pp., 4to, 
Keswick, Dec. 2, 1837, an interesting and personal letter, and two 
A.L.s. by Charles C. Southey, the poet’s son, 2 pp., and 1 p., respec- 
uy ely 8vo, March 26 and April 9, 1850, referring to his father’s 
etters. 


76 


THE 
mem AVE LLER, 


bh Lfh, OR TS bly 
PROSPECT of SOCIETY. 


A 


P O i M. 


INSCRIBED TO THE 
REV. HENRY GOLDSMITH. . 


BY 


OLIVER GOLDSMITH, M.B. 


LON DON: 
Printed for J. NEWBERY, in St. Paul’s Church-yard. 
-MDCCLXIV. 


[NUMBER 284] 


288 TENNYSON (ALFRED, LORD). Timbuctoo. A Poem 


289 


290 


which obtained the Chancellor’s Medal at the Cambridge 
Commencement, M.DCCC.XXIX, [Cambridge, 1829]; The 
Lover’s Tale, and Other Poems now first collected with a 
Monograph, London: Fifty Copies printed for Private Cir- 
culation, 1875. 2 pieces in one vol., 12 mo, half calf. 
[Cambridge and] London, [1829]-75 


“Timbuctoo” has been extracted from a copy of the “Prolusiones Aca- 
demicae” of 1829, and the margins trimmed away (to the extent even 
of injuring the page-numbers) in order to bind it with the second 
work named above, Shepherd’s Third Pirated Edition of ‘‘The Lover’s 
Tale.” The latter is a Presentation Copy from Shepherd, inscribed 
in his autograph: “Wm. H. Doeg, Esq. With the Author’s kind re- 
gards. S. Hereford Square: Brompton, May 17/75.” 


Ode on the Death of the Duke of Wellington. 8vo, 
half red morocco, gilt tooled, uncut, original wrappers bound 
injwby Louk London, 1852 


FIRST EDITION. INTERLEAVED WITH MS. NOTES BY RICHARD HERNE 
SHEPHERD, noting the extensive alterations and additions made by the 
author in subsequent editions. 


PRESENTATION COPY OF “THE WINDOW” 


TENNYSON (ALFRED, LORD). The Window. Or, The 
Loves of the Wrens. Woodcut of Canford Manor on title. 
Small folio, limp red morocco, gilt edges. 

Canford Manor, 1867 


THE EXCESSIVELY RARE FIRST EDITION, printed at the private press of 
Sir Ivor Bertie Guest, by Lord Wimborne, Lady Layard, Lady Char- 
lotte Schreiber, and Mrs. E. Ponsonby. According to Slater, SIx, and 
according to Arnold, TWENTY-FIVE COPIES WERE PRINTED. THE 
PRESENT COPY CONTAINS AN UNDESCRIBED LEAF, PRECEDING THE TITLE, 
on which is printed: “For the Author, from the Printers. Christmas, 
1867. Canford Manor.” THIS LEAF HAS BEEN INSCRIBED BY TENNY- 
SON: “John Simeon, from A. Tennyson.” IT IS THUS A PRESENTATION 
COPY TO TENNYSON FROM THE AMATEUR PRINTERS, LATER INSCRIBED 
AND PRESENTED BY TENNYSON TO ONE OF HIS MOST INTIMATE FRIENDS. 


[SEE ILLUSTRATION | 
78 


oe Jmem, 


ee 
Saran 
fie AUTHOR, 


FROM 


fee PRINTERS. 


CHRISTMAS,  186/7. 


CANFORD MANOR. 


FIRST EDITION OF TENNYSON’S “THE WINDOW” 
WITH INSCRIPTION IN HIS WRITING 


[NUMBER 290] 


ARTHUR HALLAM’S COPY OF THE “POEMS” OF 1830 


291 


Poems, chiefly Lyrical. 12mo, contemporary calf 
(rubbed), enclosed in a crushed red levant morocco slip 
case, by Riviére. London: Effingham Wilson, 1830 


FIRST EDITION, with the misprint “19” on p. 91; “carcanet” on p. 72 
is correctly printed. The work, as originally projected, was to have 
been the joint creation of Tennyson and Arthur Hallam. At the sug- 
gestion of Hallam’s father, the historian, Arthur Hallam withdrew 
his poems, as is well-known, and the volume appeared in 1830 con- 
taining only the 154 pages of Tennyson’s work. It is thought that 
Hallam had a few copies of his poems printed, and distributed them 
to his family and a very few friends. THE PRESENT COPY IS THE ONLY 
ONE KNOWN WHICH CONTAINS THE 174 PAGES OF HALLAM’S POEMS 
BOUND UP WITH TENNYSON’S; THE VOLUME IS THUS IN THE FORM 
ORIGINALLY PLANNED. A contemporary hand, probably that of Henry 
Hallam, has added the words “& Arthur Hallam” beneath Tennyson’s 
name on the title-page, and on the first page of the second part: 
“Poems, by Arthur Hallam, Esq.” Many pencilled notes throughout 
the volume (these also appear to be in the autograph of Henry Hal- 
lam, but of this it is impossible to be positive) indicate the persons 
to whom certain verses were addressed, e.g. F. H. Doyle, J. Milnes 
Gaskell, Richard Milnes, etc. In a footnote to Hallam’s “Timbuctoo,” 


originally composed for the Chancellor’s prize at Cambridge, the 


author refers to Tennyson’s poem of the same name and to the deci- 
sion, “which most justly, in my opinion, adjudged the prize to the poem 
of my friend, whose name is prefixed with mine to this volume.” It 
is thus evident that the printing of the volume had proceeded to an 
advanced stage, before the withdrawal of Hallam’s contributions. 
THAT THIS WAS HALLAM’S OWN COPY IS ATTESTED BY THE FACT THAT 
IT IS THE ONLY COPY IN EXISTENCE, BY THE INTIMATE KNOWLEDGE OF 
THE AUTHOR’S FRIENDSHIPS BETRAYED IN THE MS. NOTES, AND BY THE 
INSCRIPTION ON THE TITLE-PAGE, IN THE AUTOGRAPH OF HALLAM’S 
SISTER: “EH. H. F. from Aunt Julia, March 1859.” [Henry Hallam, 
the great historian and the father of the poet, died in January, 1859. 
He doubtless held this unique copy of his dead son’s only book, safe 
in his own keeping until his death, when, as may be seen by the 
presentation inscription quoted above, his daughter passed it on to a 
descendant.] IT IS DIFFICULT TO IMAGINE A FINER MEMENTO OF THE 
FRIENDSHIP WHICH INSPIRED “ IN MEMORIAM.” 


[SEE ILLUSTRATION ] 
80 


Parekh 1OF 9. 


POEMS, 


CHIEFLY LYRICAL, 


BY ALFRED TENNYSON. 


ad 
ARTHUR HATLAM. 


LONDON : 
EFFINGHAM WILSON, ROYAL EXCHANGE, 
CORNHILL. 


1830. 


[NUMBER 291] 


292 


293 


294 


TENNYSON’S PROOF-COPY OF THE PRIVATELY 
PRINTED “THE VICTIM” WITH CORRECTION 
IN HIS HAND 


The Victim. Woodcut of Canford Mano. on title. 
Small folio, crushed dark red levant morocco, with rich rose 
borders, gilt tooled, sides all-over pattern of roses and bees, 
gilt tooled, centre medallions of same design with gilt let- 
tering: “The Flower for Me, the Honey for Thee,” inside 
gilt borders, doublures and fly-leaves of green silk, uncut, 
by Riviere (for S. M. Samuel, 1889). 

Canford Manor, 1867 


PROOF-COPY OF THE EXCESSIVELY RARE FIRST EDITION, of which 25 
copies were printed at the private press of Sir Ivor Bertie Guest, by 
Lord Wimborne, Lady Layard, Lady Charlotte Schreiber, and Mrs. 
EK. Ponsonby. IN THE SECOND STANZA THERE IS A CORRECTION IN THE 
AUTOGRAPH OF THE POET. 


— Lucretius. Small 4to, cloth, uncut. Cambridge, 1868 


FIRST EDITION, of which it is said but 20 copies were issued. When 
the poem was reprinted in the “Holy Grail” volume, 1870, many altera- 
tions were made. 


AN IMPORTANT COLLECTION 
INCLUDING POEMS NEVER REPRINTED 
& PROOFS CORRECTED BY TENNYSON 


A. Volume of 75 Excerpts from “The Gem,” “Friend- 
ship’s Offering,” “The Keepsake,” etc., etc., neatly mounted 
with bibliographical notes added in manuscript by Richard 
Herne Shepherd. 4to, half red crushed levant morocco, gilt 
tooled, by Tout. 


A VOLUME OF HIGHEST BIBLIOGRAPHICAL INTEREST AND IMPORTANCE, 
for Shepherd, who compiled this great collection, has added in notes, 
the biographical and bibliographical circumstances of the appearance 
of each piece, variorum readings, etc. VIRTUALLY ALL OF THE PIECES 
ARE FIRST APPEARANCES, AND A LARGE NUMBER ARE FUGITIVE PIECES, 
NEVER REPRINTED. Among the more valuable we may single out for 
mention: 


RARE SEPARATE PULL of the verses which appeared in the “Examiner,” 
March 24, 1849 


ORIGINAL PROGRAM of “The Promise of May,” Globe Theatre, 1882 
THE ORIGINAL PROOF OF THE VERSES “HANDS AROUND” which appeared 
in the “Examiner” for Feb. 7, 1852. THE PROOF HAS MANY CORREC- 
TIONS AND ALTERATIONS IN T'ENNYSON’S AUTOGRAPH, AS WELL AS TWO 
LINES TO THE PRINTER, and the second stanza re-written in the auto- 
graph of Tennyson’s wife, and attached to the proof. THE POEM, IN 
ITS ORIGINAL FORM, WAS NEVER REPRINTED. 


SO COMPLETE A COLLECTION OF TENNYSONIANA PROBABLY HAS NEVER 
BEEN FORMED BEFORE; ITS EXHAUSTIVENESS BESPEAKS MANY YEARS’ 
PATIENT RESEARCH. Its possession would be an invaluable aid to one 
interested in unravelling the complexities of the innumerable altera- 
tions to which Tennyson subjected his work. 


82 


“THE NEWCOMES” WITH CORRECTED PROOFS 
OF CHAPTERS F-IIl 


295 [THACKERAY (WILLIAM MAKEPEACE).] The New- 


296 


comes: The Memoirs of a Most Respectable Family. Edited 
by Arthur Pendennis, Esq. With illustrations on steel and 
wood by Richard Doyle. Bound up from the original parts, 
2 vols., 8vo, crushed green levant morocco, gilt tooled with 
design of flowers and bees, with centre panel gilt lettered: 
“The Honey for Thee, The Flower for Me,” inside borders, 
uncut, with all the original wrappers and advertisements 
preserved, by Riviére. 

London: Bradbury and Evans, 1853-5 


FIRST EDITION, BOUND UP FROM THE ORIGINAL PARTS. A SUPERB COPY, 
differing only in the following particulars from the Van Duzer colla- 
tion: Part I: lacks slip “The Governing Classes;” Part IV: advertise- 
ment of “The Edinburgh Guardian” is on green paper; Part VI: lacks 
sip “Familiar in their mouths,” the T. Madgwick slip is on pink 
paper; Part IX: advertisement of Waterton’s Press, 2 pp. only, 
“Opening of Crystal Palace” slip wanting; Part X: lacks Great 
Northern R.R. slip (as do many of the earliest copies); Part XIV: 
lacks Punch’s Pocket Book slip; Part XVI: lacks “Phiz” slip; Part 
XVIII: British College of Health slip with recto blank; Part XXIII- 
IV: wants “Newcomes Advertiser.” 

CHAPTERS I-III ARE INTERLEAVED WITH THE ORIGINAL GALEY-PROOFS, 
WITH NUMEROUS CORRECTIONS, ALTERATIONS, AND ADDITIONS IN 
THACKERAY’S AUTOGRAPH. 


ORIGINAL DRAWINGS BY AUBREY BEARDSLEY 
FROM THREE COLLECTIONS INCLUDING THAT 
OF MR. R. A. WALKER, EDITOR OF 
“SOME UNKNOWN DRAWINGS 
OF AUBREY BEARDSLEY” 


NUMBERS 296-308 


BEARDSLEY (ANBREY). Original drawing for the Gro- 
tesque at p. 30 of Walter Jerrold’s “Bon-Mots of Sydney 
Smith and R. Brinsley Sheridan.” Size: 314 inches by 
214 inches. 


AN EXQUISITE EXAMPLE OF BEARDSLEY’S DELICATE WORKMANSHIP AND 
BIZARRE IMAGINATION. This and the two following lots were formerly 
in the possession of Walter Jerrold, and were purchased by him at an 
exhibition held by Mr. Dent, the publisher of the book, in the early 


nineties. A note by his son I. B. Jerrold to this effect accompanies 
the present drawing. 


83 


297 


298 


Original drawing for the Grotesque at p. 144 of Walter 
Jerrold’s ‘‘Bon-Mots of Sydney Smith and R. Brinsley 


Sheridan.” Size: 4 inches by 314 inches. Signed with his 
mark, 


A FINE EXAMPLE OF BEARDSLEY’S WORK. Accompanied by a copy of 
the First EDITION of Jerrold’s book. 


Original drawing for the Grotesque at p. 162 of Walter 
Jerrold’s ““Bon-Mots of Sydney Smith and R. Brinsley Sheri- 


dan.” Size: 414 inches by 314 inches. Signed with his 
mark. 


A VERY CHOICE SPECIMEN OF BEARDSLEY’S WORK AT ITS FINEST. 


299 


300 


oOL 


o02 


o04 


305 


( 


Original Pencil Drawing of a Young Child with a Cape, 
seated. Size: 614 inches by 334, inches. 


—— Original Pencil Drawing of a Woman, looking over her 
Shoulder. Size: 614 inches by 334, inches. With autograph 
note, signed. 


Original Pencil Drawing of Woman, in Costume. Size: 
614 inches by 334 inches. 


Original Pen-and-Ink Drawing of Woman, in Costume, 
Profile. Size: 614 inches by 334 inches. 


Original Pencil Drawing of a Flower-Girl. Size: 614 
inches by 334, inches. 


Original Pencil Drawing of a Woman in a Hood, Walk- 
ing, in Profile. Size: 614 inches by 33,4, inches. 


Original Vest-Pocket Note-Book belonging to Aubrey 
Beardsley, and filled with pen-and-ink and pencil sketches. 
41 pp., 48mo, unbound. 


A FASCINATING LITTLE BOOKLET, filled with sketches of varied subjects, 
some with captions in Beardsley’s hand. One sketch, showing Beards- 
ley’s familiar conventionalized portrait of Oscar Wilde, with another, 
younger, face, is headed: “You and Oscar Wilde—You willain.” 


/ 


C46 


85 


506 


307 


308 


509 


Original drawing for the cover-design of “The Cam- 
bridge A B CG, 1894. Size 11!% inches by 734, inches. Signed 
in lower left corner: ‘““Aubrey Beardsley.” Framed. (R. A. 
Walker Collection) 


Exhibited at The National Gallery of British Art, Millbank, London 
(Tate Gallery, October, 1923), and at Whitworth Institute, Man- 
chester, July, 1924. 


—— Original drawing of the Frontispiece to Vincent O’Sulli- 
van’s “Book of Bargains,’ London, 1896. Size: 514 inches 
by 314 inches. Framed. (R. A. Walker Collection) 


Exhibited at The National Society of Sculptors, Painters, and Gravers, 
London, October, 1913 (No. 155); The Inaugural Exhibition of the 
Print Room, Glasgow Art Gallery, June, 1921; The National Gallery 
of British Art, Millbank, London (Tate Gallery, October, 1923, No. 
21); and at Whitworth Institute, Manchester, July, 1924. AN Ex- 
CEEDINGLY FINE DRAWING DONE IN WHAT HAS BEEN CALLED “BEARDS- 
LEY’S ANNUS MIRABILIS.” 


BEARDSLEY (AUBREY). Original drawing. Caricature 
of Whistler. Size: 8 inches by 4!4 inches. Mounted with 
mat. (Rk. A. Walker Collection) 


Exhibited at the National Gallery of British Art, Millbank, London 
(Tate Gallery, October 1923, No. 21), and at Whitworth Institute, 
Manchester, July, 1924. It was first published in Walker’s “Some 
Unknown Drawings of Aubrey Beardsley,” 1923. Mr. Joseph Pennell 
was present when this drawing was made. It was given by Beardsley 
to Mr. James Creelman and, at his death, was acquired by the late 
Sir James Shannon, and was later acquired by Mr. Walker. (See 
Pennell’s “Adventures of an Illustrator.’’) 


[SEE ILLUSTRATION ] 


ORIGINAL DRAWINGS. The Seven Ages of Woman: 
Seven pen-and-ink drawings by an anonymous artist, some- 
what in the manner of the illustrations in Godey’s “‘Lady’s 
Book.” Size: 6 inches by 9 inches. Matted and enclosed in 
a pigskin case. 


A very interesting and characteristic Victorian series of drawings, 
showing the influence of Leech, Du Maurier, and other illustrators 
of the period. 


86 


BEARDSLEY’S CARICATURE OF WHISTLER 
[NUMBER 308] 


LETTERS & BOOKS OF GEORGE MOORE 
JAMES HUNEKER & OTHERS 
THE PROPERTY OF 
MADAME CLARA LANZA 


NUMBERS 310-315 


310 BROWNE (SIR THOMAS). Religio Medici, Hydriotaphia, 


and The Letter to a Friend. 12mo, red calf, gilt tooled, by 
Root. London, 1890 


With the Marquise Lanza bookplate. 


311 HUNEKER (JAMES GIBBONS). The Pathos of Distance. 


12mo, cloth, uncut. New York, 1913 


FIRST EDITION. Inserted is an A.L.s. by the author, 1 p., 8vo. Brook- 
lyn, Feb. 15, 718. To Marquise Clara Lanza, relating to George 
Moore: “ . the old Don Juan looks his age . . . but, after all, 
what’s the horror . . . he is worth the whole ship and crew of con- 
temporary English writers—Shaw, Bennett, & the rest. He will live 

. . only Joseph Conrad may be mentioned in the same breathe. 7.2 
With the Marquise Lanza bookplate. 


JAMES HUNEKER WRITES ABOUT 
GEORGE MOORE’S BIRTH 


312 HUNEKER (JAMES GIBBONS). Unicorns. 12mo, cloth, 


313 


uncut. New York, 1917 


FIRST EDITION. Inserted is an A.L.s. by the author, 1 p., 8vo. Brook- 
lyn, Feb. 10, 718. To Marquise Clara Lanza, relating to the falsifica- 
tion of age by “artistic men—who are more feminine than women.” 
George Moore, according to Huneker, “was really born in 1857. The 
family records prove it. I was in Dublin in 1914 and Yeats told me; 
besides that Major-General Moore, an elder brother, was born in 1852. 
That clinches the matter . . .” Chopin, Heine, and Sarah Bernhardt 
are accused of having falsified their ages likewise. As a matter of 
fact, George Moore was born in 1858. (See Quinn catalogue.) With 
the Marquise Lanza bookplate. . 


MOORE (GEORGE). Memoirs of My Dead Life. 12mo, 
cloth (shaken). New York, 1907 


FIRST AMERICAN EDITION, WITH THE PREFACE NOT IN THE ENGLISH 
EDITION. Inserted is an A.L.s. by the author, 2 pp., 8vo. Dublin, 


November 14, 1906. To Marquise Clara Lanza. “. . . I hawe told 
Mr. Sears to send you Memoirs of my dead life (you might have come 
into them) . . .” With the Marquise Lanza bookplate. 


88 


THE MOST INTERESTING LETTERS OF A 
MODERN AUTHOR EVER OFFERED 


314 MOORE (GEORGE). Seven intimate autograph letters, 
signed, and two autograph letters. To the Marquise Ciara 
Lanza. From Freshcombe Lodge, Beeding, Sussex; 8 King’s 
Walk, Temple, London; and 4 Upper Ely Place, Dublin. 
July 17, 1888 to December 9, 1906. Altogether about 48 
octavo pages. With envelopes. Of the two unsigned let- 
ters, one—the first of the series—has had the signature cut 
out, leaving the last page mutilated, but with nothing but 
the signature missing. The other letter is quite complete, 
and the signature was evidently omitted intentionally. 


George Moore has done nothing better in any of his books, in the way 
of character reading and character revelation, than will be found in 
some of the pages of these intimate personal letters, which are as 
frank as his “Confessions”, and more interesting, because more un- 
studied, than his “Impressions”. 


The first letter is a cordial acknowledgment of the unexpected note 
which initiated the correspondence. “To veceive such a letter from 
a distant country, and especially when it comes from a woman of 
culture is a rare and exquisite pleasure.” But with his cultivated 
business instincts he passes promptly to the question of an American 
edition of the “‘Confessions”, and he would like to place his new novel, 
“Spring Days’, though the book contains “a few passages which the 
chaste city of New York might take exception to’. 


The friendship and the note of intimacy develop rapidly in the ensuing 
letters. “J lve my quiet life in The Temple looking upon the scenes 
described in Mike Fletcher. Alas I am thirty seven or very nearly, 
(this in November, 1889, which should settle any doubt as to his age) 
the heart wears out and life is not so new or so joyous as tt used to 
be. I am happy only with my French friends and often think of 
going to Paris and settling there for good. I have a friend there 
whom I might marry but I cannot resign myself to the idea of mar- 
riage—I wonder how you did.” 


In the next letter he touches upon the sex questions that dominate 
his books. “You told me that. no one saw my letters and that I might 
write what I pleased. I will avail myself of the permission and tell 
you a thought which has been haunting me for the last few days and 
which seems to me to be new . . . I have been thinking of the sexual 
side of our friendship. The word startles you but there is no other 
word that expresses my meaning. For it is quite true that the friend- 
ship which sprang from intellectual sympathy, pure and simple, has 
become coloured and modified by the knowledge that you are a woman, 
by the sympathies of sex . . . You know as well as I know that. sex 
is full of mysteries and subtleties . . . For the really healthy sex 
never ceases and is full of a majesty unite unknown to the vulgar. 
You are to me always a woman . . . I see your hands and feet and 
the movement of your skirt, in fine you are a woman always to me 
and not a sexless idea. And you are too much a woman I feel swre 
to wish it otherwise. Search your own heart and ask yourself if 
you would take the trouble that you do take if I were a man.” (Sic: 
the omission of the negative is amusing.) 

A few months later he writes: “Your last letter . . . was so de- 
lightfully personal—you seem to have spilt your soul out on the pages. 
The human soul is what is most interesting in literature, I might even 
add in love—we cannot go to bed with souls it is true but—well a 
soul and a good figure go far to make the hours less harsh . as 
He gives his views on the women of the New and the Old World. 
“I do not think there is anything so attractive as an American lady. 


89 


315 


English women and French women I understand as I understand 
myself but the American always remains to me the exotic; from long 
habit IT know what she will say on a given occasion, but of the condi- 
tion of her mind I know nothing . ...” And he adds: “J think 
that women do not reveal much of their inner natures to one another. 
I don’t believe that a really nice woman ever was very platonic do 
you?” 

In the concluding’ letter he discusses dogmatically a momentous ques- 
tion. “The intellect of the world, you see, has drifted away from 
Catholicism, intellectually it is a desert. Since the reformation Catho- 
lics have not produced a book—that is hardly an exaggeration . . . 
The only Catholics who produce books at all are converts for they 
retain something of the original liberty.” 

However debatable his opinions may be, they are certainly interesting 
and interestingly expressed. THE PRESENT SERIES OF LETTERS, PRO- 
VOCATIVE, SUGGESTIVE, ILLUMINATIVE, SHOULD BE INVALUABLE TO A 
MOORE COLLECTOR, ENTHUSIAST OR CRITIC. 


WILDE (OSCAR). Photo by Sarony, N. Y., 1882. Size: 
12 inches by 7 inches. Sepia. Pasted at the foot is Wilde’s 
signature, cut from a birthday book. 


ASSOCIATION COPIES 
NUMBERS 316-322 


316 BLINDED SOLDIERS AND SAILORS GIFT BOOK (THE). 


Edited by George Goodchild. Frontispiece in colors by Hugh 
Thomson, and other illustrations, some in colors. Ato, cloth 
(binding soiled). London, n.d. 


FIRST EDITIONS. Contains contributions by Wells, Galsworthy, Ches- 
terton, and others. 


317 INSCRIBED COPIES. List of the Writings of William 


518 


Hazlitt and Leigh Hunt (Ireland), London, 1868; lo in 
Egypt and Other Poems (Garnett), 1859; Yesterdays with 
Authors (Fields), Boston, 1872; Garcia the Centenarian 
(Mackinlay), Edinburgh, 1908; Subjective Concepts of Hu- 
es (Donnelly), New York, 1922. 5 vols., 8vo and 12mo, 
clot 


FIRST EDITIONS, EACH INSCRIBED BY THE AUTHOR. 


INSCRIBED COPIES. The Pocket R.L.S. (Hughes), Lon- 
don, 1907; Harp and Sickle (Watson), Bristol, [1922]; The 
Art of Biography (Thayer), N. Y., 1920; Sonnets of 
Shakespeare’s Ghost (Thornton), Sydney, 1920; The Forces 
(Morrison), N.p., [1919]; Letters to Somebody (Wilson), 
1922. 6 vols., various sizes and bindings. 


FIRST EDITIONS. FE:ACH INSCRIBED BY THE AUTHOR, 2 have A.L.s. by 
the authors inserted. Two are inscribed to Sir George Trevelyan, and 
two to Gilbert Chesterton. 


90 


319 


320 


O21 


D22 


323 


324 


KROPOTKIN (PETER). Memoiren eines Revolutionars. 
Portraits. 2 vols., 12mo, cloth. Stuttgart, 1900 
PRESENTATION copy. Inscribed by the author on half-title: ‘To 
Reginald Smith, Hsq. with kindest regards. P. Kropotkin.” 


MACFALL (HALDANE). Sir Henry Irving. Portraits by 
Histing, Bath, and Gordon Craig. 12mo, wrappers. 
Edinburgh, 1906 


FIRST EDiTION. PRESENTATION COPY FROM THE AUTHOR, with a long 
inscription relating to the present book. 


R.TUSKIN] (J.[CHN]). Poems. J. R. 12mo, cloth (back 
faded, corners worn). N.p.: Collected, 1850 


THE EXCESSIVELY RARE PRIVATELY PRINTED FIRST EDITION. PRESENTA- 
TION COPY, inscribed on fly-leaf (which has been cut out and re- 
inserted): “M. C. from the author, by W. H. H.[arrison] 16 Oct. 
1854.” With the Edith M. Cave-Browne bookplate, and her inscrip- 
tion beneath Harrison’s. 


RUSKIN’ (JOHN). Sesame and Lilies. 12mo, cloth, gilt 
edges (shaken). London, 1865 


FIRST EDITION. Inscribed on half-title: “Marianna Constable, with 
W. H. Harrison’s Love, 1865.” With the Edith M. Cave-Browne book- 
plate. 


BOOKS FROM THE LIBRARY OF A 
NEW YORK COLLECTOR 


NUMBERS 323-340 


ALCIATI (ANDREAE). Emblemata cvm Commentariis 
Clavdii Minois I. C. Francisci Sanctii Brocensis & Notis 
Lavrentii Pignorii Patavini. Engraved frontispiece and 
213 emblematic cuts. Thick 4to, crushed crimson levant 
morocco, gilt back, line borders on sides, gilt edges, by 
Chambolle-Duru. Patani seb lozziumer 621 


A MOST DESIRABLE COPY OF THIS EDITION, WITH THE VIGNETTES IN 
BRILLIANT STATE. With the Robert Hoe bookplate. 


ALDINE PRESS. M. Tvllii Ciceronis Orationvm. Cum cor- 
rectionibus Pauli Manutii. Aldus’s device on titles and last 
leaves. 3 vols., small 8vo, maroon morocco, arms of Lord 
Leigh on all backs, Aldus’s device on covers, gilt tooled, gilt 
edges, backs faded). Venetiis: [Paulus Manutius,] 1504 


FINE COPY OF AN ATTRACTIVE SPECIMEN FROM THE ALDUS PRESS. With 
the Lord Leigh bookplate. 


91 


320 


O26 


397° 


[BARHAM (R. H.).] The Ingoldsby Legends; or, Mirth 
and Marvels. By Thomas Ingoldsby Esquire. Engraved 
title-pages (that for Vol. 1 being in facsimile), engraved 
plates by John Leech, George Cruikshank, and others. 3 
vols., 8vo, crushed crimson levant morocco, gilt fillets on 
backs and sides, uncut, original covers preserved, by Mor- 
rell. London, 1840-2-7 


A FINE CLEAN COPY OF THE VERY RARE FIRST EDITION, with the verso 
of p. 286, and the slip intact. 


A MASTERPIECE BY THE CLUB BINDERY 


BINDING. Daniel (Samuel). The First Part of the Historie 
of England. Architectural title. 4to, crimson levant mo- 
rocco, back panelled with interlaced strap-work in dark 
green morocco and inlays of buff morocco, richly gilt tooled, 
sides with elaborate borders and arabesques of interlaced 
strap work in dark green morocco, and geometrical inlays 
of buff morocco, the whole covered with gilt tooling of ex- 
quisite delicacy, doublures of crushed crimson levant mo- 
rocco, with the monogram “RH” gilt tooled, delicate inside 
gilt borders, marbled fiy-leaves, by the Club Bindery, dated 
1907, and signed by Leon Maillard, Finisher (slight repairs 
to first three and last two leaves). Enclosed in a half mo- 
rocco slip-case. London: Nicholas Okes, 1612 


THE VERY RARE FIRST EDITION, with the genuine blank leaves. The 
Errata quaintly states: “And (if I liue) after this priuate impres- 
sion, which is but of a few coppies for my friends, I will amend what is 
amisse . . .” THE BOOK IS IN A SUPERB BINDING, ONE OF THE FINEST 
OF MODERN TIMES. Inserted are two portions of A.L.s. by H. Hardy 
and Leon Maillard, of the Club Bindery, stating that this is. one of 
the most magnificent and difficult bindings they have executed. With 
the Robert Hoe bookplate. 


[SEE ILLUSTRATION | 


BINDING Morris (William). The Story of Sigurd the Vol- 
sung and the Fall of the Niblungs. 8vo, russia, back pan- 
elled and tooled in gilt and blind with leaves of green mo- 
rocco inlaid at corners, sides with fine lettered border, gilt 
tooled, leaves of green morocco inlaid at corners, sides blind 
and gilt tooled, with semis of small olive dots within gilt 
circles, and front centre-ornament of leaves and Canterbury 
Bells inlaid in green and white morocco, gilt tooled, inside 
gilt fillets, gilt edges on the rough, by D.[ouglas] C.[ock- 
erell], 1901. Enclosed in a blue levant morocco solander 
case, gilt tooled. London, 1877 


FIRST EDITION. One of 25 copies on Large Paper. A SPLENDID EX- 
AMPLE OF COCKERELL’S WORK. 


92 


FINEST BINDINGS 


1D) 
EXECUTED BY THE CLUB BINDERY 


ONE OF TH 


EVER 


ERT HOE 
[NUMBER 326 | 


FOR ROB 


328 


O29 


300 


Bo2 


BLOUNT (SIR THOMAS POPE). De Re Poetica: or, Re- 
marks upon Poetry. With Characters and Censures of the 
Most Considerable Poets, whether Ancient or Modern Ex- 
tracted out of the Best and Choicest Criticks. Small 4to, 
beautifully bound in full maroon levant morocco, gilt fillet 
panels on back, interlaced 4-fillet border on sides, marbled 
fly-leaves, gilt edges, by Gruel. In a black morocco slip 
case. London, 1694 


A SUPERB COPY OF THE First EDITION. With the Robert Hoe and 
H. V. Jones bookplates. 


BROOKE (FULKE-GREVILLE, LORD). Certaine Learned 
and Elegant Workes of the Right Honorable Fvlke Lord 
Brooke, Written in his Youth, and familiar Exercise with 
Sir Philip Sidney. Folio, crushed citron levant morocco, in- 
lays of black and white and broad borders of green in mo- 
saic, richly gilt, gilt edges, by the Club Bindery. In a 
crushed black levant morocco solander case. London, 1633 


A SUPERB LARGE PAPER COPY OF THE FIRST EDITION, measuring 10% 
6%4 inches. As usual pp. 1-23 are missing, for it is believed they con- 
tained a poem “Of Religion,” which was suppressed by order of 
Archbishop Laud, and which oe not appear again until 1670. With 
the Robert Hoe bookplate. | 


COLERIDGE (SAMUEL T.). The Watchman. Nos. I-X. 
8vo, crushed brown levant morocco, Jansen style, inside gilt 
borders, gilt edges, by Riviere. Bristol, 1796 


FirST EDITION. A FINE AND COMPLETE SET. This periodical, launched 
“that all might know the truth, and the truth might make us free” 
contains about thirty-five poems and articles by Coleridge. 


HERBERT (GEORGE). Herbert’s Remains. Sundry Pieces 
of that Sweet Singer of the Temple, Mr. George Herbert. 
Now exposed to publick light. 12mo, brown morocco, gilt 
tooled, sides with panels and fleurs-de-lys at corners, gilt 
edges. (old name on title). 

London: Printed for Timothy Garthwait, 1652 


First EDITION. VERY RARE. A FINE COPY, with the second title, “A 
Priest to the Temple,” which is often wanting. “Jacula Prudentium,” 
London, 1651, with separate title and pagination, is bound in at end. 
With the Herbert C. Marsh and the Beverly Chew bookplates. 


HUNT (LEIGH). Poetical Works. 8vo, crushed green 
levant morocco, gilt back, line borders, inside dentelles, un- 
cut, by Riviere. London, 1832 


CHOICE COPY OF THE FIRST EDITION. 
94 


Doo 


B00 


306 


oot 


KEATS (JOHN). Lamia, Isabella, The Eve of St. Agnes, 
and Other Poems. 12ro, crushed blue levant morocco, gilt 
back, line borders, inside dentelles, gilt edges, by Riviere. 


A SUPERB COPY OF THE RARE FIRST EDITION, WITH THE HALF-TITLE. 


LOCKER -LAMPSON (FREDERICK). London Lyrics. 
Frontispiece by George Cruikshank. Photograph of the 
author inserted. Small 4to, crushed crimson levant mo- 
rocco, gilt back, gilt panelled sides, with intertwined leaf 
sprays, butterflies and shells; doublures and end leaves of 
brocade silk, gilt on the rough, by Lortic. In a morocco 
bound slip case. London, 1857 


VERY FINE COPY OF THE FIRST EDITION IN A HANDSOME BINDING. In- 
serted is a 2 pp. A.L.s. of the author in reference to some autograph 
letters of John Locke. 


SHELLEY (PERCY BYSSHE). Rosalind and Helen, a 
Modern Eclogue, with Other Poems. 8vo, crushed light blue 
levant morocco, gilt back, elaborate gilt panelled sides, with 
delightful ornamentation, inside dentelles, uncut, by the 
French Binders. In a half brown levant morocco slip case, 
chamois lined protecting covers. London, 1819 


A SUPERB COPY OF THE RARE FIRST EDITION, WITH THE HALF-TITLE 
AND THE LEAVES OF ADVERTISEMENTS AT THE END. 


SWINBURNE (ALGERNON C.). Atalanta in Calydon. A 
Tragedy. 4to, crushed crimson levant morocco, gilt back, 
gilt panelled sides, with spirals of leaf sprays, interlaced 
fillet borders, and corner ornaments; doublure of crushed 
green levant morocco, gilt ornamentation surrounded with 
an interlaced inlaid border, end leaves of green China silk, 
uncut, by Birdsall. In a half brown levant morocco slip 
case, and chamois lined protecting cover. London, 1865 


THE RARE FIRST EDITION IN A MOST SUMPTUOUS AND PLEASING 
BINDING. 


TENNYSON (ALFRED LORD). Poems Chiefly Lyrical. 
8vo, crushed crimson levant morocco, gilt back, line borders, 
inside dentelles, uncut, by Riviére. London, 1830 


A SUPERB COPY OF THE RARE FIRST ISSUE OF THE FIRST EDITION, with 
p. 91 numbered 19, and “carcanet” on page 72. 


95 


D8 


Dod 


O40 


Idylls of the King. 12mo, crushed light blue morocco, 
back panelled and gilt tooled, sides diapered with hare-bell 
design, inside gilt borders, uncut, with the original green 
cloth covers bound in, by Riviere. Enclosed in a crushed 
dark blue morocco solander case, gilt tooled. London, 1859 


AN EXQUISITELY BOUND COPY OF THE VERY RARE EARLIEST ISSUE OF THE 
FIRST EDITION, with the advertisements dated January, 1859, and 
WITHOUT THE PRINTER’S IMPRINT ON VERSO OF TITLE. 


WHITE (GILBERT). The Natural History and Antiquities 
of Selborne, in the County of Southampton. Hngraved 
plates. 4to, crushed olive levant morocco, gilt back, gilt 
fillet sides, inside dentelles, gilt edges; doublures and end 
leaves of green China silk. London, 1789 


VERY FINE COPY OF THE RARE FIRST EDITION, WITH THE RARE LEAF OF 
ERRATA. The Bird plate, usually missing, is present, and on account 
of a former break in the fold, has been skilfully backed with gauze. 


THE MOST REMARKABLE SPECIMEN OF 
MODERN BOOKMAKING 


CERVANTES SAAVEDRA (MIGUEL DE). El Ingenioso 
Hidalgo don Quixote de la Mancha. Title printed in black 
and red within woodcut border, fine woodcut initials in red, 
some brilliantly wluminated in colors and silver. 2 vols., 
Ato, bound in cork. In a cloth case. 

San Felio de Guixols: Eudaldo Lanibelli, 1905-6 


ONE OF 52 COPIES PRINTED WHOLLY ON CORK, AT THE TRI-CENTENARY 
OF THE FIRST EDITION. THE WORK IS A MARVEL OF TYPOGRAPHICAL 
SKILL AND BEAUTY, having been printed on both sides of 875 leaves 
of genuine cork. The soft texture of the cork sheets greatly enhances 
the beauty of the splendid letter-press and illumination, the latter 
especially possessing very unusual brilliance. Printed in black letter, 
in the style of the First Edition, with the date, 1605, and the Cas- 
tilian arms on the cover. THE ENTIRE WORK WEIGHS BUT TWO POUNDS 
AND NINE OUNCES. Not any of the public libraries of America pos- 
sess a copy. 


ORIGINAL CARICATURE DRAWINGS BY CARUSO 


CARUSO (ENRICO). Sketches of those connected with the 
Metropolitan Opera House: the ticket-seller, the pages, the 
orchestra, the prompter, the hair-dresser, the Director’s 
stenographer, supers, the stage carpenter, etc. 20 pieces. 


Caricatures of Franko, Max Hirsch, Pfeiffer, and other 
Metropolitan notables and habitués. 12 pieces. 


Caricatures of Heinrichs, Archibald Henderson, Melt- 
zer, and other Metropolitan notables and habitués. 12 pieces. 


Caricatures of Conried, Weil, and other Metropolitan 
notables and habitués. 12 pieces. 


96 


O45 


346 


47 


548 


349 
350 


B51 


Caricatures of Schindler, Voghern, and other Metro- 
politan notables and habitués. 11 pieces. 


Caricatures of Dufriche, Vigna, Weil, and others. One 
in colors, all are signed. 6 pieces. 


more aires Ole Scotti: in ~“losca.” ““Haust,”. and ‘in 
street-clothes. One in colors. 3 pieces. 


Caricatures of various singers in character. All are 
colored. 5 pieces. 


Pa wearicauure of Himself in “La Boheme,” 

Caricature of Himself in “Rigoletto.” (edges slightly 
torn). 

Caricature of Himself in “The Barber of Seville.” In 


colors, signed. 


97 


352 ——— Caricature of Himself in Formal dress: 


358 —— Caricature of Himself in “Tosca.” In colorsiesionea: 
354 ——— Caricature of Himself in ‘‘Elisir.” (edges frayed). 

355 ——— Caricature of Himself in costume. Colored and signed. 
356 Caricatures of Plancon in “La Favorita,” “La Sonam- 


bula,” “Faust” (two caricatures, one on colors but torn), 
and in “‘La Gioconda.”’ One signed. 5 pieces. 


307 


Caricatures of Mme. Alten as Gretel (two caricatures, 
one in colors), also in “La Boheme,” and in street-costume. 
4 pieces. 


358 Caricatures of Knote in “Siegfried.” 2 caricatures, 
one colored and signed. 


359 Caricatures of Begué in costume and in street-clothes. 
3 pieces. 

360 Caricatures of Olive Fremstadt in “Parsival,” in re- 
hearsal, and in street-costume. 3 pieces. 

361 Caricature of Scotti in “La Favorita.” In colors, 
signed. 

362 Caricatures of Be Sembrich, Rossi, and others. 10 | 
pieces. 

363 Caricatures of Knote, Journet and his wife, and others. 
10 pieces. 

364 Caricatures of Emma Eames and her husband, Louise 


and Sidney Homer, Mme. Rappold, and others. 10 pieces. 
365 


Caricatures of Melba in ‘‘La Bohéme” and in street- 
costume. Both are in colors and signed. 


366 


Caricatures of Gadski and others in Wagnerian roles. 
Two are in colors and signed. 8 pieces. 


367 ——— Caricatures of Rossi and others in “Tosca.” 6 pieces. 


98 


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TO THE ANDERSON GALLERIES [TELEPHONE REGENT 0250] 
PARK AVENUE AND FIFTY‘NINTH STREET, NEW YORK 


PLEASE BUY FOR ME AT YOUR SALE NO.__._ SESS ON SSSSSCFST OFF? 
THE FOLLOWING LOTS AT NOT. EXCEEDING THE PRICES NAMED, WHICH ARE SO MUCH 
PER LOT. THESE BIDS ARE MADE SUBJECT TO THE CONDITIONS OF SALE PRINTED IN 
THE CATALOGUE OF THIS SALE. 


NAME____ 


ADDRESS 


SHIPPING DIRECTIONS 


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LOT FIRST WORD BID LOT FIRST WORD BI 


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MAKE YOUR BIDS ON THIS SHEET FOR ONE SALE ONLY. 
TERMS CASH. REFERENCES OR CASH DEPOSIT REQUIRED WITH 
ORDERS FROM STRANGERS. 


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FROM THE WILL OF EDMOND DE GONCOURT 


[TRANSLATED |] 


@ My wish is that my Drawings, my Prints, my Curiosities, 
my Books—in a word, these things of art which have been 
the joy of my life—shall not be consigned to the cold tomb 
of a museum, and subjected to the stupid glance of the care- 
less passer-by; but I require that they shall all be dispersed 
under the hammer of the Auctioneer, so that the pleasure 


which the acquiring of each one of them has given me shall be ~~ 


given again, in each case, to some inheritor of my own tastes. 


9 cde adams 
or 


THE ANDERSON GALLERIES - 


[MITCHELL KENNERLEY, Presipent] 
PARK AVENUE AND FIFTY-NINTH STREET 
NEW YORK 


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